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ITHIN THE L 



AYARD VEILLER 










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WITHIN THE 

LAW 

A Melodrama in Four Acts 

BY 

BAYARD VEILLER 




Copyright, 1912, hy Bayard Veiller 
Copyright, 1917, by Samuel French' 



All Rights Reserved 



CAUTION. — Amateurs nnd professionals are hereby 
warned that "WITHIN THE LAW," being fully pro- 
tected under the copyright laws of the Xinited States, 
is subject to royalty, and anyone presenting the play 
without the consent of the owners or their authorized 
agents will be liable to the penalties by law pro- 
vided. Applications for amateur acting rights must 
be made to SAMUEL FRENCH, 28-30 We.st 38th 
Street, New York. Applications for professional 
acting rights must be made to the AMERICAN 
PLAY COMPANY, 33 West 42n(i Street, New York. 



New York 

SAMUEL FRENCH 

Piiblislier 

28-30 West 38th Street 



London 

SAMUEL FRENCH, Ltd. 

26 Southampton Street 

STRAND 









Especial notice should be taken that the pos- 
session of this book without a valid contract for 
production first having been obtained from the 
publisher, confers no right or license to profes- 
sionals or amateurs to produce the play publicly 
or in private for gain or charity. 

In its present form this play is dedicated to 
the reading public only, and no performance of it 
may be given, except by special arrangement with 
Samuel French. 

SECTION 28.— That any person who wil- 
fully or for profit shall infringe any copyright 
secured by this act, or who shall knowingly and 
wilfully aid or abet such infringement, shall be 
deemed guilty of a misdemeanor, and upon con- 
viction thereof shall be punished by imprisonment 
for not exceeding one year, or by a fine of not 
less than one hundred dollars nor more than one 
thousand dollars, or both, in the discretion of the 
court. Act of March 4, 1909. 



OCI.D 488 J 1 

■JAN 31 1918 



The follomng is a copy of the play bill of the first per- 
formance of "Within the Law," as produced at the Eltinge 
Theatre, New York, September llthj, 1912 : 

MESSES. SELWYN & COMPANY 

PRESENT 

WITHIN THE LAW 

A MELODRAMA IN Four Acts 

BY < 

Bayard Veillee 



The characters are named in the order of their appearance 



THE CAST 

Sarah, Edward Gilder's private 
secretary Georgia Lawrence 

Smithson, floorwallcer at "The 
Emporium" S. V. Phillips 

EiCHARD Gilder, Edward Gil- 
der's son Orme Caldara 

Edward Gilder, proprietor of 

"The Emporium" .... Dodson Mitchell 

George Demarest, Edward Gil- 
der's lawyer Brandon Hurst 

Helen Morris, a salesgirl in 

"The Emporium" .... Catherine Tower 

Detective Sergeant Cassidy of 

the New York police . . . John Willard 

1 



Maey Turner, a saleswoman in 

"The Emporium" . . . .' Jane Cowl 

Agnes Lynch, a confidence 

woman Florence Nash 

Joe Garson, a forger . . . . William B. Mack 

Fannie, a maid . . . . . Martha White 

William Irwin, a lawyer . . \Yilliam A. Norton 

Eddie Griggs, a crooTc Icnown as 

"English Eddie" .... Kenneth Hill 

Police Inspector Burke of the 

New York police .... Wilton Taylor 

Thomas, a hutler Arthur Moore 

Chicago Eed, a crooJc . . . Arthur Spaulding 

Tom Dacey^ a crooh .... John Camp 

WiLLiA]\is, a stenographer at po- 
lice headquarters .... Joseph Nickson. 

Thompson, a detective of the 

New York police .... Edward Bolton 

Dan, doorman at police headquar- 
ters Frederick Howe 



ACT I 

Time: — About noon. Early Spring. 

Scene -.—Office of Edward Gilder, proprietor of The 
Emporium. There is a door down left leading 
into the store and another door up center lead- 
ing into the hall. The door down left opens off 
and upstage, and the~door up center opens up 
and to the left. Doivn right, almost to the cur- 
tain-line, is Mr. Gilder's desk, set at an angle so 
that anyone coming in the door center or the 
door left can he observed by anyone sitting at 
the desJc, without moving. The angle of the desh 
is from down right to up right center. Up right, 
set obliquely, is a large table covered iviih de- 
partment store samples. The angle of this desTd 
is fi'om doivn left to up center. A hat-tree is 
jv^t left of center door. There is an office chair 
in upper right co7-ner and a large leather rocher 
right of center door, and above Gilder's desh; 
another leather chair is down left just below 
door left. There is an office chair just below 
sample table and facing up stage. Another 
office chair is tight of Gilder's desTc.' There is a 
plain, green carpet on the floor. All of this fur- 
niture, with the exception of the two leather 
chairs, is mahogany. The leather chairs are 
green leather. The walls of the office are pan- 
elled in mahogany half-way up and the upper 
half is plain green. 

Lights : — The foots and first border are up full lohite 
and stand during the entire ad. Bade of the 
two doors are w'hite bunches. 
3 



4 WITHIN THE LAW 

At Eise: — Sarah is discovered seated at Gilder's 
desh opening mail. When the curtain is well up 
Smithson enters left and crosses to left center. 
Sarah just holes up and then goes on with her 
worh. 

Smithson. Has Mr. Gilder come down yet ? 

Sarah. He's down at the Court of General Ses- 
sions. 

Smithson. (as he crosses to l. of desh) Ah! 
Yes, I remember now. Well, I hope the girl gets off. 
She's a nice little thing. 

Sarah. Oh, did you know her ? 

Smithson. Naturally one doesn't know salespeo- 
ple; but they put her in my department when she 
first came to work here. She's a good saleswoman, 
as saleswomen go; in fact, I thought her a very 
worthy person. She's the last girl in the world I'd 
take for a thief, {going toward door l.) Will you 
please let me know when Mr. Gilder arrives ? I have 
several little matters I want to discuss with him. 
(Smithson exits l. Door at c. is thrown open and 
Dick Gilder rushes in and down c, with a suit- 
case in his hand, as he speaks.) 

Dick. Hello, Dad ! 

(Sarah looJcs up, and as she sees Dick, quichly rises 
and goes around loiver end of desh to meet Dick 
at G., as she speahs.) 
Sarah. Why, Mr. Dick ! 

Dick. (Dick stops at c. as he shows his displeas- 
ure at not finding his father in. He drops his suit- 
case and extends both his hands to Sadie, who tahes 
them) Oh, hello, Sadie. I'm home. Where's dad? 

Sarah. In court. 



WITHIN THE LAW 5 

Dick, (as he drops Sarah's hands) In court? 
(laughingly) What's he done this time? (Sarah 
laughs and, going to lower end of desk, sits and con- 
tinues her work as Dick removes his hat and, crossing 
to the opposite side of the desk, half sits on it) Ee- 
member the time that fresh cop arrested him for 
speeding ? I thought he'd have the whole police force 
discharged. 

Sarah. We didn't expect you for two or three 
months yet. 

Dick, (crossing to desk and half sitting on it) 
Sadie, don't ever let the old man know it, he'd be all 
swelled up, and we can't afford to let our parents 
swell up. It's bad for them, but I got Tfind of home- 
sick for dad. 

Sarah, (looking up at Bick with a laugh) Oh! 

Dick. That's the truth. I went broke, too. 

(Sarah laughs) 

Dick. What's father doing in court ? 

Sarah. One of the girls was arrested for stealing. 

Dick. And dad went down to court to get her 
out of the scrape. Isn't that just like the old man. 

Sarah. She was tried last week and convicted. 
The judge sent for Mr. Gilder to come down this 
morning and have a talk with him about the sen- 
tence. 

Dick. Oh, well, it'll be all right. Dad's heart is 
as big as a barrel. He'll get her off. (Dick gives a 
sudden start, jumps off desk and, as he goes hur- 
riedly towards door at c.) Oh, Lord! I forgot all 
'about it. 

Sarah. About what, Mr. Dick? 



6 _ WITHIN" THE LAW 

Dick, (as he turns to Sarah) My taxi's been 
M'aiting all this time. (Saraii goes on ivith her 
work, not noticing Dick. Dick goes all through his 
pockets, when looking at Saeah with some hesita- 
tion) Sadie— Sadie, have you got five dollars? 

Saeah. {looking at Dick wiili a laugh) Five 
dollars ? 

Dick. Yes. rm broke. 

Saeah. Wait a minute. (Saeah turns up stage 
and starts for her stocking. Dick, as he realizes 
what Sarah ts aloui to do, turns away towards sam- 
ple tahle and puts his hand over his eyes. Sarah 
gets the money from her stocking and, as she offers 
one hill across the desk to Dick) Here you are. 

Dick, (as he quickly crosses to Sarah and takes 
the money) Thanks. Say, Sadie, remember when 
I used to borrow nickels from you to buy candy? 

Sarah. Yes, and you're not much older now than 
you were ten years ago. ^ 

Dick, (as he crosses over and picks iiphis suit- 
case) I'll be right back, but I won't come until I 
know dad's here. I want to give him the surprise of 
his young life, (starts toward door at c, hut stops 
and looks at his suitcase, then turns to Sarah) 
Where can I put this so he won't see it ? 

Sarah, (as she goes omvithher ivork) Oh, any- 
where. 

Dick, (looks around, then) Oh, I know. 
(crosses and puts suitcase under sample tahle and 
starts to door c.) Don't give him a hint, will you, 
Sadie ? 

Saeah. ISTo, indeed ! 

Dick, (in the doorway at c.) That's an old fear. 
I'm tickled to death to see you again, Sadie, really 
I am. 



WITHIN THE LAW 7 

Saeah. Me, too, Mr. Dick. (Dick exits at c. 
Phone hell rings. Sarah rises, and, going around to 
■upper end of desTc so that she faces front, pic'ks vp 
'])]ione) Hello — hello? No, ?ir, ho hasn't reached 
the oflfice yet. (pause) At four this afternoon. 
Wait till I see. (Sarah leans across the ,desh and 
looks at memo 'pad, then bach into 'phone) Yes, 
he'll be free at four, but he has another engagement 
at foiir-thirty — (Mr. Gilder enters at c, and as 
Sarah continues, hangs his hat on hat tree and 
crosses to 'phone) Just a minute, Mr. Hastings. 
Here's Mr. Gilder now. (to Gilder, as she sets the 
'phone down and steps hack) Mr. Hastings of the 
Empire wants to know if you can see him at four 
this afternoon. 

(Mr. Gilder picl^s up 'phone as Sarah crosses to 
sample table and examines samples.) 

Mr. Gilder, (into 'phone) Oh,' good morning. 
(pause) Yes, certainly, four will suit me admirably. 
(pause) Sunday? Why, yes, if you like. We can 
stop at the Claremont for a highball and have a 
lunch at the Country Club ; yes, we can go out right 
after church, (pause) My dear fellow, you couldn't 
beat me in a thousand years. Why, I made the 
eighteen holes in ninety-two last week, (pause) 
For fifty, all right, you're on! (With a laugh he 
• bangs up receiver and goes to his chair at desk, sits 
and starts to work at his mail) 

Sarah, (as Gilder sits) What did they do to 
the Turner girl? 

Mr. Gilder, (impatiently and going on sorting 
the mail) I don't know. I couldn't wait. I don't 
see why Judge Lawler bothered me about the matter. 
He's the one to impose sentence, not me. . I'm hours 
behind with my work now, and I had to stop on my 
way and talk for nearly an hour with old Gushing. 



8 WITHIN THE LAW 

Sarah, he's getting more fussy every year. Sarah! 
(Sarah crosses quicMy to l. of desk, Gilder handing 
her a pile of opened letters) Give these to Smith to 
attend to. {handing her another pile of mail) 
These go to Osgood. (Gilder picks up another pile 
of letters and looking through them hurriedly) I'll 
reply to this lot myself this afternoon, (drops the 
letters into letter basket. Sarah starts door l. and 
Gilder takes hack one letter from the basket) Oh, 
Sarah. (Sarah stops) Take this before I forget 
it. (Sarah comes hack to the desk, seats herself in 
chair L. and picks up her notebook and pencil, taking 
Mr. Gilder's dictation) "Mr. Gilden, Editor New 
York Herald — Dear Sir: Enclosed please find my 
check for one thousand dollars for your Free Ice 
Fund. It's going to be a very hard summer for the 
poor and I hope hj starting the contributions to your 
noble charity at this early date, that you will be able 
to accomplish even more good than ever before. Very 
truly yours." (to Sarah) That's what I usually 
give, isn't it, Sarah? 

Sarah, (without looking up) That's what 
you've given every year for the last ten years. 

Mr. Gilder, (settling back in his chair with a 
self -satis fied air) Ten thousand to this one charity 
alone. Ah, it's splendid to be able to help those less 
' fortunate than ourselves ! 

Sarah, (without looking away from her note- 
hook) Yes, sir, especially when we make so much 
we don't miss it. 

Gilder, (looking at Sarah rather sternly) The 
profits from my store are large, I admit, but I neither 
smuggle my goods, take rebates from railroads, con- 
spire against small competitors or do any of the dis- 
honest things that disgrace other lines of business. 
As long as I make my profits honestly, I'm honestly 
entitled to them, no matter how large they are. 



WITHIN" THE LAW 9 

Sarah, {rising and starting ioivards door l.) 
Yes, sir. 

GiLDEE. Have the cashier send my usual five 
hundred to the Charity Organization Society. 
(Sarah starts toward door l.) And, Sarah — 
{^A.B.A.11 stops and turns. She is just at c.) I don't 
like your remark about my not missing the money I 
give. What difference does that make? 

Sarah, (at c.) Oh, I didn't mean anything 
wrong, Mr. Gilder. 

Gilder. Just the same, I don't like it. (Sarah 
crosses to door L. Demarest enters at c.) Well, 
Demarest? (as Sarah reaches door l., she stops and 
turns) 

Demarest. (at door c.) Judge Lawler gave her 
three years. 

Gilder. Three years? Good. Take this, Sarah. 
(during Gilder's next speech. Sarah crosses to l. of 
desk and stands ivith notehooJc open. Demarest 
goes to hat tree and hangs his hat up) Have Smith- 
son post a copy of it conspicuously in all the girls' 
dressing rooms, and in the reading room, lunch room 
and assembly room, (dictating. Sarah takes the 
dictation, while Demarest comes down c. on a level 
with Sarah) "Mary Turner, formerly employed in 
this store, was today sent to prison for three years, 
having been convicted of the theft of goods valued at 
over four hundred dollars. The management wishes 
again to draw tlie attention of its employees to the 
fact that honesty is always the best policy." Got that? 

Sarah. Yes, sir. 

Gilder. Take it to Smithson and tell him I want 
it attended to immediately. 
Sarah. Yes, sir. 



10 WITIII^T THE LAW 

(Saeaii crosses to door l. and exits. Gilder- opens 
right top dratver of his desk and lalces out a box 
of cigars, which he offers to Demaeest.) 

Gilder. Smoke, Dcmarest? 

Deaiarest. {cru.ysing lo Inch of chair l. of Gil- 
dbr's desJc) No, tbaii'Ks. 

Gilder, (as he takes a cigar from the hoc,-, returns 
the hox to tJie chau'er and lighls the ciga". Thoh'ght- 
fulhj) Three year? — three years. Well, that ought 
to be a -warning to the rest of the girls. . 

Deaiarest. (over the hack of tlie chair of Gil- 
der's desk) Funny thing, this ca^e. One of the 
nK)?t nnnsnal I have seen since I began practicing 
law. 

Gilder, (sitting doion i)i Jtis cliair and smoking 
ciqar) Ycry — {[nrff) Sad — (puff) case — 
(puff) I call it. '■ / 

Demarest. Tory sad cape ! The girl persist? in 
declaring that she's innocent. 

Gilder. But the stolen goods were found in her 
locker — some of tliem even in the pocket of her coat. 

Demarest. She says some one must have put 
them there. 

Gilder. Who, and for what reason? It's too ab- 
surd to talk about. 

Deaiarest. She says, as vrell, that her record of 
five years in your employ ought to count. 

Gilder, (with finality) A court of justice lias 
declared her guilty. 

Demarest. Nowadays we don't call them courts 
of justice, we call them courts of law. 

Gilder. Anyway, it's out of our hands. There's 
nothinf^ we can do. 



WITHIN THE LAW 11 

DemaPvEpt. (as he comes around from the hack 
of the chair, and sits in the chair l. of Gilder's 
desk) Although I helped to prosecute the case, I 
am not proud of the verdict. 

GiLDEE. Why? 

DE]\rAEE,sT. Because, in spite of the evidence, I'm 
not sure she's giiilty. 

Gilder. But the goods were found — 

DeMxVrest. (interrupting him ) I admit it. 

Gilder, {triumphanthj) Tlicn there you are. 

Demarest. {slowly and seriously) Gilder, she 
wants to see you. 

Gilder. What's the use? I can't have a woman 
crying all over the place and begging for mercy. 

Demarest. The girl isn't begging for mercy. 
She's a very unusual girl — very unusual — much above 
the average saleswoman, both in lyain and education. 
Just before the judge imposed sentence he asked her 
if she had anything to say — you know, the usual 
form — and she surprised us all by sayin;^ tha,t she 
had. You should have waited, Gilder ; she made a 
damn fine speech. 

Gilder, (ivith some eagerness) Did she say any- 
thing against me or the store? 

Demarest. I^ot a word; she told how her father 
died v.dien she was in high school and how she had 
to earn her own living since she was sixteen, and 
liow she worked for you for five years without there 
being a thing against her; she said she'd never even 
seen the goods found in her locker, and then asked 
the judge if he knew Vvdiat it meant for a girl to be 
sent to prison for three years for something she 
hadn't done. It took brains and courage" to do it, and 
it all rang true. I believe Lawler would have sus- 
pended the sentence if it hadn't been for your talk 
with him. 



12 WITHIN THE LAW 

Gilder, (rising) I simply did my duty — 
(crossing around in front of desk up to sample table) 
I didn'l seek the interview — (turning and coming 
down c.) Judge Lawler sent for me and asked me 
what I thought about the ease; whether I thought 
it would be right to let the girl go oh suspended sen- 
tence, (turning to Demaeest) I told him frankly 
I thought an example should be made of her, for the 
sake of the others who might be tempted to steal. 
(takes stage down l., then, turning to Demarest) 
Property has some rights, Demarest, although it's 
getting so nowadays that nobody seems to think so. 
(a pause, as Gilder smokes a puff or two and crosses 
to c.) I can't understand why the girl wants to 
see me. 

Demarest. (as lie rises and crosses to Gilder, 
c.) She said if you'd see her for ten minutes, she'd 
tell you how to stop the thefts in this store. 

Gilder, (triumph) There you are. She wants 
to confess. It's the first sign of decent feeling she 
has shown. There may have been others mixed up 
in this thing. 

Demarest. Pernaps. Anyway, it can do no harm. 
I've seen the district attorney and he's given orders 
to have her brought here on her way to Grand Cen- 
tral. They are taking her up to Auburn. Better 
have a little talk with her. (as Demarest goes up 
to hat tree and gets his hat. Gilder takes a step or 
tiuo down l.) Let me know what the girl tells you. 
I'm curious about it. 

(Door at c. is thrown violently open and Dick rushes 
in.) 

Dick. Hello, Dad ! (Dick rushes down to Gil- 
der, dropping his hat on sample table at l. c. as he 
passes. They embrace) 



WITHIN THE LAW 13 

Gilder. Dick! (after the embrace, as Dick 
draws hack) What brought you back? 

Dick, {as he steps hack from Gilder) Oh, I 
just wanted to come home. Say, Dad, I'm broke. 
(Demarest comes slowly down c. with his hat in his 
hand) 

Gilder. Poker on the ship? 

Dick. Nope. They hired Captain Kidd and a 
bunch of his pirates as stewards, and what they did 
to little Eichard — (Dick turns away from Gilder 
as if to cross to desk, and sees Demarest. Dick 
puts out his hand and they shake hands as Dick con- 
tinues) Why, hello, Mr. Demarest. You're looking 
fine. How's business ? 

Demarest. Pretty good, Dick, pretty good. 

Dick. Glad to hear it. 

Demarest. (Demarest starts for the door up c. 
Dick crosses to upper end of desk at r. c. and Gilder 
crosses helow the desk to his chair hack of it, and 
sits, as he lays his cigar in the ash tray. As Dema- 
rest goes) I'll get along now. Gilder. (Demarest, 
ahout to go out, turns in the doorway) Oh, come 
down and see me, Dick, any time you need legal 
advice. 

Dick, {at the upper end of the desk at r. c. and 
facing Demarest) I'm not going to need any legal 
advice. 

Demarest. I hope not. Good-bye. 

{Exits through door c.) 

Dick, (comes around to the side of desk and sits 
on it, facing Gilder, and pats his shoulder) Well, 
Dad, how goes it? 

Gilder. Pretty well, son. I'm glad to see you 
home again, my boy. 

Dick. And I'm glad to be home — to see you. 



14 WITHIN THE LAW 

GiLDEK. Have a good time ? 

Dick. I had the time of my young life. I nearly 
broke the hank at Monte Carlo. 

GiLDEE. (ivitJi a laugh) Oh! oh! 

Dick. I'd have done it, too — if my money had 
lasted. 

Gilder. ~ {with mode seriousness) So that's 
where it went? 

Dick. Yes, sir. 

Gilder. Why didn't yon cable me? (Saeaii li- 
ters door L. and crosses to l. c.) 

Dick, (sincerely, and leaning across and placing 
his hand on his jaiher's shoulder) Because it gave 
me a good excuse for coming home. 

Sarah, {at l. c, with notehoolc and pencil) I 
see you found him. 

GiLDEE. Yes. 

Dick, {ojf the deslc, passes around upper end of 
it to c, facing Sarah) Sadie, you're looking finer 
than ever ; and how thin you've grown ! 

Sarah, {sincerely) Eeally! {as she talrs 
stage, down l.) How much do you think I've lost? 

Dick, {eyeing her, ivith a laugh) Let me see. 
I should say about — two — ounces. 

Sarah. {a>s she turns and faces him ivitli a laugh) 
Oh, you! 

Dick. You're not angry with me, are you ? 

Sarah. Why, no. Of course not. Then — 

Dick. Then give me a little kiss. (Dick stari' 
towards Sarah. Sarah crosses irf front of Dick 
and up towards door c. As Sarah passes Dick, he 
catches her left arm and she Jceeps him protesting 
and drawing closer to door c. toith Dick trying to 
draio her to him) Oh, come on, Sadie. (Gilder 
rises and comes up above his deslc towards Dick and 
Sarah) 

Sarah. No, no, please, Mr. Dick. 



WITHIN THE LAW 15 

Dick. Just to show there's no ill-feeling. 

Sarah. Oh, please stop, Mr. Dick. 

Gilder, (as he takes Dick's right arm and starts 
him walking down stage. Dick releases Sarah, who 
exits at c.) Now, Dick. That will do. Why, 
you're making Sarah blush ! 

Dick. A little kiss never hurts anyone. Here, 
I'll show you. (Dick suddenly throws his right arm 
around Gilder's necTc, who is facing down stage and 
hisses his left cheeh and then quicJcly takes a step 
from. Gilder) 

Gilder, {in surprise, as he ruhs his cheek. 
Quickly) God bless my soul! (thoughtfully) 
Why, I don't believe you've kissed me since you were 
a little boy ! God bless my soul. 

Dick, (going to Gilder a7id putting his right 
arm around Gilder's shoulder, with his right hand 
on Gilder's right shoulder) I'm awfully glad to 
see you again. Dad. 

Gilder, (affectionately, and as he reaches up his 
left hand and puts it on Dick's right) Are you, 
son? (then quickly changes his manner, pushes 
Dick away from him in mock seriousness) You 
chase out of here ! (as Gilder starts to go around 
to his desk and Dick starts up for his suitcase) I'm 
a hard-working man. (as Gilder stops and puts his 
hand in his pocket) Wait a minute. Here it is. 
(Dick stops and turns at center) Here's some car- 
fare for you. (Gilder takes out a roll of hills, takes 
off a couple and with his left hand offers them to 
Dick. Dick comes down stage to his father's side, 
reaches aaross Gilder, and takes the hig roll of 
money out of Gilder's right hand) 

Dick. Thanks. (Gilder laughs and passes 
around the loiver end of his desk and sits. Dick 
takes a step or two up c. and ivatches Gilder and as 
Gilder sits) You can always get rid of me on the 

2 



16 WITHIN THE LAW 

same terms. ( Gildee starts to work on his ma/il, and 
Dick goes quickly up and gets his suit-case from 
under sample table and, as he is going to the door c.) 
See you later. (Dick, about to go out, stops and 
turns to Gilder) Oh, Dad, for the love of heaven, 
give Sadie five dollars. I just borrowed it from, her 
to pay for the taxi. 

(Dick exits quickly through c. Gilder chuckles at 
his desk and goes back to his luork.) 

Gilder, {to himself) Finest boy in the world — 
that's all. {picks up his cigar. As Smithson en- 
ters L. and quickly crosses to the l. of Gilder's desk. 
Gilder ju^t looks up and sees who it is and goes on 
with his ivork as he speaks) Well, Smithson, what 
is it? 

Smithson. McCracken, the store detective, has 
detained a lady, sir. She's been searched and we 
have found about a hundred dollars' worth of lace on 
her. 

Gilder, {without looking up) Well? 
Smithson. I thought it better to bring the mat- 
ter to your attention, sir. 

Gilder. Not at all necessary, Smithson. You 
know my views on the subject of property. Tell Mc- 
Cracken to have the thief arrested. 

Smithson. She's not exactly a thief, Mr. Gilder. 
Gilder, {looking up in surprise) Not a thief? 
In heaven's name, what would you call her? 

Smithson. I'd call her a kleptomaniac, sir. You 
see, the lady happens to be the wife of J. W. Gas- 
kell. 

Gilder. Gaskell? Gaskell? President of the 
Central National Bank? 

Smithson. Yes, sir. 



WITHIN THE LAW 17 

GiLDEE. That's very awkward, (pause) You 
were quite right in coming to me. {pause, as Gildek 
slops and thiiils) Of course, there's nothing we can 
do. Put the stuff back on the counter and let her go. 
(returns to his ivorh) 

Smithson. She's very angry, sir, she demands 
an apology. 

GiLDEE. (irritable and without raising his head) 
Well, apologize to her. 

Smithson. (coming to door l.) Yes, sir. 

GiLDEE. (pause, until Smithson gets to door l.) 
And — er — Smithson — (Smithson stops at door 
and turns to Gilder. Gilder presses button as he 
loohs at Smithson and continues) I'll take it as a 
personal favor, if you will tactfully advise the lady 
that the goods at Stern's and Altman's are even finer 
than ours. 

Smithson. (with a Jcnoiving smile) Yes, sir. 
I'll see what I can do, Mr. Gilder. 
(Exits l. Sarah e?iters up c. door with notebook 
and pencil.) 

Gilder, (as Sarah enters, up c. door) Now 
then, Sarah. (Sarah comes down quickly to chair 
l. of Gilder's desk and takes Gilder's dictation in 
shorthand notes. Gilder dictating) "J. W. Gas- 
kell, Central National Bank, New York. My dear 
Mr. Gaskell. I feel that I shall be doing less than 
my duty as a man if I did not let you know that 
Mrs. Gaskell is in urgent need of medical attention. 
She came into our store today and — " No, wait a 
minute, put it this way: (Sarah scratches out a 
mark or tivo) "We found her wandering about our 
store today in a very nervous condition. In her ex- 
citement she carried away about a hundred dollars' 
worth of lace. Not recognizing her, our store de- 
tective arrested her." No — no — make^that "detained 



18 WITHIN THE LAW 

her for a short time/' (Sarah scratches out a note 
or two in her- hook) "Fortunately for us all, Mrs. 
Gaskell was able to explain who she was, and she has 
just gone to her home. Hoping for your wife's 
speedy recovery and with all good wishes, I remain, 
Yours very truly, — " (to Sarah) Sarah, I can't 
understand the theft — it's entirely beyond my com- 
prehension. (Smithson enters door l. and advances 
a few steps inside the door and above it) Now, 
Smithson, what is it? 

Smithson. Mrs. Gaskell wants you to apologize 
to her. 

Gilder, (rising and stepping to loiver end of his 
desk) What? 

Smithson. And she wants the store detective dis- 
charged. 

Gilder, (crossing to g.) Discharge McCracken ? 

Smithson. She seems slightly hysterical, sir. 

Gilder, (crossing to door l.) Well, I'll apolo- 
gize to her; but I'll be damned if I discharge Mc- 
Cracken. 

(Gilder exits l., followed hy Smithson, who closes 
the door, Sarah laughingly rises and crosses 
to upper right corner of sample table, fixing up 
a sample and examining it. As Sarah picks up 
sample the door at l. opens and Helen enters 
quietly. She glances at Sarah, and as she turns 
to' close the door, looks off stage and speaks.) 

Helen. Sadie ! (Helen, receiving no answer, 
turns and crosses quickly up to l. of table and ap- 
pears nervous) Sadie ! ! 

Sarah, (as she sees who it is) Now what do you 
want ? 

Helen, (with forced calm) I just saw the boss 
go out. (anxiously) What did they do to Mary 
Turner ? 



WITHIN" THE LAW 19 

Sarah, (as she crosses to l. of Gilder's desh, 
ivith her bach to Helen) You'll know soon 
enough. 

Helen, (as she starts to cross to Sarah and 
gets as far as the chair in front of sample table) 
Tell me now. 

Sarah, {without turning) They sent her to 
prison for three years. 
Helen. Three years? 
Sarah. Yes. 

Helen. (05 she turns a step bacTcwards, and turn- 
ing so that she faces front) Good God! 

Sarah, (as she turns and crosses to Helen) See 
here, what are you so anxious ahout it for? This is 
the third tirqe you've asked me about Mary Turner 
today. What is it to you? ('during Sarah's speech 
Helen shows she is trying to recover her self-con- 
trol) 

Helen, (without looking at Sarah) Nothing — 
nothing at all — only she's a friend of mine, a great 
friend. — Three years! (turning and taking a step 
toward door l.) I didn't understand — (another 
step toward door) It's awful, (another step) It's 
awful. 

(Exits through door l. As Helen goes out, Sarah 
watches her with a puzzled look, then turning 
crosses to Gilder's desk, she pushes the chair 
L. of the desk doivn stage to the lower end of 
desk. Just as Sarah reaches desk, several firm, 
hard knocks are heard at the door up c.) 
Saeah. (as she picks up a letter from the desk 
and, ivithout turning, says) Come in. 
(The door is opened by Cassidy, and Mary Turner 
is discovered in the doorway, head hanging and 
handcujfs attached to her left wrist. On her 
left hand, and holding the other end of the hand- 
cuff, is Cassidy. They slowly enter Mary, 



20 WITHIN THE LAW 

slightly in front. Cassidy closes door after- 
ward. Then they slowly come down c. and are 
on a line with the middle of Gildee's desk. At 
Cassidy's first word, Sarah turns and faces 
them. Cassidy speaJcs as they come to a stop, c.) 
Cassidy. The district attorney told me to bring 
this girl here on my way to Grand Central. 

Saeah. (to Cassidy) Mr. Gilder will be right 
back, (crossing to Maey, and talcing her right hand 
impulsively) I'm terribly sorry, Mary, terribly 
sorry. 

Maey. (dully) Are you? Nobody's been near 
me the whole time I've been in the Tombs. No- 
body's been near me. 

Saeah. (as she drops Maey's hand) Helen Mor- 
ris was just asking about you. She's all broke up. 

Maey. Who's Helen Morris? I don't know her. 
Why should she care? 

Saeah. Why, she said she was a friend of yours, 
and — 

(Gildee enters, l., smohing his cigar and starts to 
cross to his desJc. As he sees the group, he 
pauses, takes the cigar from his mouth, then to 
Saeah.) 
Gildee. You may go, Sarah. 
Saeah. Yes, sir ! 

(Up to door c. and exits. Gildee looTcs at Maey a 
minute, and as she returns the looh, Gildee 
crosses over to the loiver e. corner of his desk, 
stops and turns to Maey^ speaking. Maey has 
followed him with her eyes.) 

Gildee. I am very sorry about this, my girl. 

Maey. You should be. 

Gildee. Come, come, that's no tone to take! 



WITHIN THE LAW 21 

Maet. What did you expect? 

Gilder. A decent amount of humility from one 
in your position. 

Maey. Would you be humble if you were being 
sent to prison for three years for something you 
didn't do? 

Cassidy. Don't mind her, Mr. Gilder, they all 
talk like that — it don't do them no good, but they 
all swear their innocence to the very last — no matter 
how right we got 'em. Not guilty? Huh! Why, 
she tried to make a get-away comin' uptown this 
mornin'. Sure. That's why she's wearing these. 
{just indicating handcuffs) 

Maey. I tell you, I didn't do it. 

GiLDEE. What's the use of all this pretence ? You 
were given a fair trial. 

Maey. Oh, no, I wasn't. If it had been fair, I 
shouldn't be here. 

Cassidy. That's another thing they all say. 

Maey. Do you call it fair when the only lawyer 
I had was a boy the court told me to take, — a boy 
trying his first case — getting experience, they call it — 
yes, getting it at my expense ! 

GiLDEE. The jury found you guilty. 

Maey. Because they had been out for three hours 
and the judge threatened to lock them up all night ! 
The men were tired and wanted to get home, and 
the easy thing to do was to find me guilty and let it 
go at that. Was that fair ? Was it fair for you to 
come down to the court this morning and tell the 
judge that I ought to be sent to prison as a warning 
to the others? 
■' GiLDEE. You mean — 

Maey. Oh ! I heard you. It wasn't, did I do it, 
or didn't I do it? It was to be a warning to the 
others, {a pause. Maey sobs softly) Mr. Gilder — 



22 WITHIN THE LAW 

(crossing half-way totvard Gilder) As God is my 
judge, you are sending me to prison for three years 
for something I didn't do. (a pause, plaintively) 
Why did you ask the judge to send me to prison ? 

GiLDEE. The thieving that has been going on in 
this store for over a year has got to stop. 

Maey. Sending me to prison won't stop it. 

GiLDEE. Perhaps not ; but the discovery and pun- 
ishment of the other guilty ones will ! Now, you 
sent me word that you could tell me how to stop the 
thefts here. Do this, and while I can make you no 
definite promises, I will see what can be done about 
getting you out of your present difficulty. (Gildee 
moves around the cortner of his desk as he continues) 
Come now, tell me, who were your accomplices ? 

Mary, {losing control of herself) I have no ac- 
complices ! I never stole anything in my life ! Must 
I go on telling you over and over again ? Why won't 
anyone believe me ? 

Gildee. {pause, as Gildee moves to hach corner 
of desk; then sternly and shariply) Unless you con- 
trol yourself you must go. (softening) Why did 
you send me that message if you have nothing to tell 
me? 

Maey. {pause, as she regains her self-control) I 
have some things to tell you, only I — sort of lost my 
grip, walking through the streets with this man by 
my side. 

Cassidy. Most of them do — the first time. 

Gilder. Well? 

Mary. Well, when you sit in a cell for three 
months waiting trial like I did, and then for another 
month wondering what your sentence is going to be, 
you think a lot, so I got the idea if I could talk to 
you, I might be able to make you understand what's 



WITHIN" THE LAW 23 

really wrong. And if I could do that and so help out 
the other girls, what's happened to me wouldn't be 
quite so awful, {pleadingly and slowly crossing to 
Gilder's desh, Cassidy following) Mr. Gilder, do 
you really ^vant to stop the girls from stealing? 

Gilder. Most certainly I do. 

Mary. Then give them a fair chance. 

Gilder. What do you mean? 

Mary. , Give them a living chance to be honest. 

Gilder. A living chance ? 

Mary. A living chance to get enough food to eat 
and a decent room to sleep in, and shoes that will 
keep their feet off the sidewalks on winter mornings. 
Do you think any girl wants to steal ? Do you think 
she wants to risk — ? 

Gilder. So, this is what you're taking my time up 
for? To make a maudlin plea for a lot of dishonest 
girls when I thought you were bringing me facts ! 

Mary, {pause, as Mary straightens up and takes 
a step hack from the desk, then in a low clear tone) 
We work nine hours a day for six dollars a week. 
That's a fact, isn't it? And an honest girl can't 
live decently on six dollars a week — and buy food 
and clothes and pay room-rent and car-fare, that's 
another fact, isn't it ? 

Gilder, {as he sits at his desk and starts to at- 
tend to his mail) I don't care to discuss these 
things. 

Mary, {moving up close to the desk, — plead- 
ingly) And I don't want to discuss anything, I 
only want to give you what you ask for — facts. 
{pav^e) When they first locked me up I just sat 
and hated you. 

Gilder. Of course. 



24 WITHIN THE LAW 

Maky. And then I thought perhaps yon didn't 
understand, and if I told you how things really are, 
maybe you'd change them somehow. 

Gilder, {looking up at Mart in amazement) 
Change my business policy because you ask me? 

Mary, (pleadingly) Do you know how we girls 
live? Of course, you don't. (Gilder stops worh 
and sits hack in his chair showing his annoyance) 
Three of us in one room doing our owti cooking over 
a two-burner gas stove, and our own washing and 
ironing evenings — after ■ being on our feet for nine 
hours. 

Gilder. I have provided chairs behind the 
counters. 

Mary. But have you ever seeil a girl sit on one 
of them? (Gilder turns away) Well, have you? 
Of course not, because she knows the manager of the 
department would think he could get along without 
her, and she'd be discharged. And so, after being 
on her feet for nine hours, the girl walks home, to 
save car-fare — walks whether she's sick or whether 
she's well — and you're generally so tired that it 
don't make much difference which you are. 

Gilder. What has that got to do with — ? 

Mary. And when you're real sick and have to 
stop work, what are you going to do then? {pause) 
Do you know that the first time an honest girl steals, 
it's often because she needs a doctor or some luxury 
like that? And some of them do worse than steal; 
and they started straight, too, and wanted to stay 
that way. Some get so tired of the whole grind 
that — 

Gilder, {rising and interrupting her sharply) 
I'm not their guardian. I can't watch over them 
after they leave the store. They are paid the current 
rate of wages, as much as any other store pays. 



WITHIN THE LAW 2S 

f 

Mary. Yes, I know that, Mr. Gilder, but — 

Gilder, {virtuously indignant) No man living 
does more for liis employees than I do ! Who gave 
the girls the fine rest-room upstairs? I did. Who 
gave them the cheap lunch-room? I did. 

Mary. But you won't pay them enough to live on. 

Gilder. I pay the same as other stores. 

Mary, {slower and with more weight than the 
first time) But you won't pay them enough to live 
on. 

Gilder. So that's the plea you make for yourself 
and your friends, that you are forced to steal ! 

Mary, {leaning across Gilder's desh) I wasn't 
forced to steal and I didn't steal ! But that's the 
plea, as you call it, that I'm making for the other 
girls. There are hundreds of them stealing or going 
on the streets because they don't get enough to eat. 
You asked me to tell you how to stop the thefts ; well 
I've done it. Give the girls a living chance to be 
honest. You asked me for names — there's only one 
name I know of to put the blame for the whole busi- 
ness on — Edward Gilder ! 

Gilder, {indignantly) What! 

Mary, {pleadingly) Now won't you do some- 
thing about it ? 

Gilder. How dare you talk to me like this? 

Mary. Won't you do something about it? 

Gilder. How dare you? 

Mary, {as she hacJcs to center) Why not? 
You've done all the harm you can to me. I'm try- 
ing to give you a chance to be — to do better by the 
others. You ask me how I dare ? I've been straight 
all my life. I've wanted decent food and warm 
clothes, and a little happiness, all the time I've 



26 WITHIN" THE LAW 

worked for you, and I've gone without them to stay- 
straight, and now you're sending me to prison for 
three years for something I didn't do ! 

GiLDEE. Take her away, officer. 

Mary. That's why I dare ! 

Gilder. Take her away. (Cassidy draivs Mary 
two or three steps toward center) 

Mary. Oh, he can take me now. Three years 
isn't forever and when I come out you're going to pay 
me for every minute of them. There won't be a day 
or an hour that I won't remember that it was your 
word at the last that sent me to prison, and you're 
going to pay me for that, you're going to pay me for 
the five years I've starved making money for you — 
you're going to pay me for everything I'm losing 
today — (Cassidy shakes the handcuffs and starts 
toward door center. Mary tahes a step or tivo down 
center, sticTving her hand out and dragging that of 
Cassidy ivith it, shoiving the handcuffs) — and you're 
going to pay me for this — you're going to pay — you're 
going to — ! 

C U E T A I N" 



ACT II 

Time : — Four years later — Spring. 

Scene: — Boom in Maey Turner's apartment in 
Gramercy Square. It is a well furnished room 
with a door doivn left, leading into Mary's hed- 
room. Another door up left center leading into 
a hall, and a door up right leading into another 
hall. Up left is a hay-window, and up right is 
a fireplace. 

Lights: — The sunlight is coming in through the hay 
window, and the stage is hright. There is 
plenty of light coming in at all of the doors as 
they are opened. 

At Rise: — Agnes enters through the door at up- 
right-center with a vase of huttercups in her 
hand. She closes the doors and as she comes 
down stage glances oPer towards Mart's room 
at left, the door of which is open. She comes 
down stage to the right of the trick tahle and 
places the vase of huttercups on the tahle, picJcs 
up a magazine from the tahle, passes around the 
tahle to the chair left of it, and as she sits, she 
spealcs. 

Agnes. What are you doin' Mary, dolling up? 

Mary, (off stage left, in room, the door of which 
is opened) I've an important engagement. 

Agnes, (as she reads her magazine) Are you 
goin' out again with that young Gilder? .^ 

27 



28 WITHIN THE LAW 

Mary. Yes. 

Agnes. Nice boy, isn't he? (starts to read 
magazine) 

Mary. I suppose so. 

Agnes, {looking up towards Mary's door. 
Sharply.) Suppose so? He's here so much we 
ought to be charging him for his meals — and you 
don't know whether he's the goods or not. {Returns 
to reading magazine) 

Mary, {as she enters from room left, dressed for^ 
the street, crosses hack of table left to right of it and 
continues putting on her gloves) I know he's the 
son of Edward Gilder and that's enough for me. 

Agnes, {turning in her chair toward Mary) I 
can't get you, Mary. You never looked at a man — 
why, from the way you acted when I first ran into 
you after we left Auburn prison, I thought you'd 
become a suffragette, and then you meet young 
Gilder, — and — good-night, nurse ! {returns to read- 
ing magazine) 

Mary. Well ? 

Agnes, {turning to Mary, sharply) His old 
man sends you up for a stretch for something you 
didn't do and you take up with his son like — 

Mary. Yes, perhaps that's the reason. 

Agnes. Gee, I'm getting wise, {looking hack to 
her magazine) 

Mary. Agnes, whatever there is between young 
Gilder and me is my affair. I don't want to talk 
about it but — I do want to know what you were doing 
with that pickpocket yesterday. (Agnes turns to 
Mary as if about to speak) Oh, I saw you. (Agnes 
sheepishly returns to reading her magazine) Joe 
Garson told me who he was. A common pickpocket. 



WITHIN THE LAW 29 

Agnes, {loolcvng up quickly) Common? {ilien 
turning to Mart) He's the best dip in the business. 
I guess I've got a right to speak to my own brother 
if I want to. {turning hack again to read her 
magazine) 

Maey. Oh, your brother. What did he want, 
money ? 

Agnes. {turning to Mary) Nix. Business 
is immense. This has been a great year for crooks. 
{hack to reading magazine) 

Mary. How can it* be? With the dead line at 
John Street and 

Agnes, {turning to Mary) Dead line? Wake 
up, my dear. Why, Jim takes lunch every day at the 
Wall Street Delmonico's. Yes, and he went down to 
Police Headquarters yesterday. {laugh) Say, 
they've got a mat at the front door with "Welcome" 
on it in letters three feet high, {pauses as Agnes 
laughs) He lifted a leather from a bull that was 
standing in the hallway, {hack to reading magazine) 

Mary. It's no use, Agnes. I can't remember 
your slang. What did he do? 

Agnes, {still reading magazine) He copped the 
copper's kale. 

Mary. He what? 

Agnes, {turning to Mary and with a great deal 
of emphasis and in her ladylike manner) He gently 
removed a leather wallet containing a large sum of 
money from the coat pocket of a member of the de- 
tective force, {naturally) Say, he says Inspector 
Burke got a gold watch that weighs a ton, all set 
with diamonds. It was gave to him by admiring 
friends, {goes, hack to reading) 

Mary. Given, now, Agnes, please: given. 

Agnes, {looking up in surprise) What differ- 
ence does that make, he's got it. {turning to Mary) 



30 WITHIN THE LAW 

When I get time I'm going after that watch, (hach 
to reading magazine) 

Maky. Oh, no, you're not. (Agnes looTcs up) 
As long as you're working with ns you'll break no 
laws. 

Agnes, (turning to Maet) But I can't see — ? 

Maey. Now Agnes, when you worked alone, did 
you have a home like this ? 

Agnes, (as she looJcs around the room) No. 

Maey. Or good clothes, or proper food, or safety 
from the police? 

Agnes. No, but I can't see 

Maey. (crossing to center) Agnes, the richest 
men in this country have made their fortunes not 
because of the law, but in spite of it. They made 
up their minds what they wanted to do and they 
engaged lawyers clever enough to show them how 
they could do it and still stay inside the law. Any- 
one with brains can get rich in this country if he'll 
engage the right lawyer. I have the brains, and my 
attorney, Harris, is showing me the law — the won- 
derful twisted law that was made for the rich. As 
long as we keep inside the law we're safe. 

Agnes, (taking her magazine with her, rising 
and crossing to Maey) Gee, that's funny, you and 
me and Joe Garson handin' it to 'em right and left 
and the bulls can't touch us. The next you know 
Harris will be havin' us incorporated as the American 
Legal Crime Co. 

Mary, (with her arm around Agnes' shoulder) 
I shouldn't be in the least surprised, (phone rings. 
Both look toward phone, then Maey crosses to phone 
to answer it and Agnes crosses down right ivith her 
magazine and sits and starts reading. Maey at the 
upper side of table, down left, answers the phone as 
she stands facing the front) Hello, (tenderly) 



WITHIN THE LAW 31 

Oh, Dick, (pause) Yes, I'm ready, (pause) I 
understand, — why it's just around the corner from 
liere. I won't be five minutes. By the way, I read 
the papers very carefully this morning. I didn't 
see anything about our going down there together, 
did you? (pause) I thought of course, when you 
mentioned your father^s name it was bound to come 
out. (pause. Strong and hard) Oh, I see. It's 
wonderful what money will do, isn't it? (pause. 
Lovingly) Do you suppose, if I didn't care for you 
I'd be coming to you now? (pause) No, please, 
stay where you are. I really won't be five minutes. 
(Mary hangs up receiver) 

Agnes, (looking up from magazine) Say, what's 
all this? 

Mary. Secrets, Agnes, secrets, (starting toward 
door up left center) I shan't be gone over — (Gar- 
son enters up left center and steps in, to Mary's 
right, and removes his hat) Oh, good-morning, Joe. 

Garson. Good-morning. 

Mary. You're around early? 

Garson. Oh, a little bit. Going out? 

Agnes. No, she's putting in a ton of coal. 
(Mary and Joe hoth laugh) 

Mary. Wait for me, Joe. I shan't be gone more 
than ten or fifteen minutes. (Mary exits up left 
center. Garson turns and drops his hat on couch up 
center, and crosses down right toward Agnes as far 
as the trick table. Agnes is seated in the chair down 
right reading her magazine) 

((Ifft-RSON. Where's she going ? 

Agnes, (without looking up) Had a date with 
young Gilder. 

Garson. M'm. She's been with him a good deal 
lately. 

Agnes. That's what. 

3 



32 WITHIN THE LAW 

Gaeson. Think she's stuck on him ? 

Agnes. {looMng up at Gaeson) Why not? 
Bet your life I'd be if I had the chance. (Gaeson 
turns and crosses to cliair right of table at left center, 
sits and piclcs up magazine from table) He's one 
swell boy and entirely surrounded by money, {pause. 
Gaeson^s manner shows that he's uneasTj) Say, Joe, 
if there's anything on your mind, shoot it. 

Gaeson. It's Mary and young Gilder. 

Agnes. Well ? 

Gaeson. Well, I can't see any good in it for her. 

Agnes. Why ? 

Gaeson. Old man Gilder's got a big pull and if 
he gets wise to his son going around with Mary he'll 
send the bulls down after us strong. Believe me, 
I ain't looking for any trip up the rdver. 

Agnes. We ain't done anything they can touch 
us for — Mary says so. 

Gaeson. Whether you done anything or you ain't, 
once the bulls set out to get yer, they'll get yer. 
Why, Russia ain't in it with some o' the things I've 
seen pulled off in this town, {door-bell rings off left 
center) 

Agnes. Yes, but they can't touch us; we got our 
fingers crossed. 

Gaeson. {with a laugh) Can't, eh? 

Cassidy. (Cassidt starts speaking outside, opens 
the door and comes just inside during his line. 
Pannie is following closely and comes to a stand- 
still at Cassidy's left. At the first sound of Cas- 
sidy's voice Gaeson rises and turns and faces the 
door and takes the stage a little to the left. Cassidy 
does not remove his hat during the following scene) 
Never mind that announcing thing. 

Fannie, {angrily) You get out of here. What 
do you mean by pushing your way in here like this ? 



WITHIN THE LAW 33 

Cassidy. (watching Gaeson) Beat it ! 

Gaesoist. It's all right, Fannie. (Fannie turns 
and exits up left center closing the door after her) 

Cassidy. (without moving and in a familiar 
tone) Hello — Joe — Hello, Aggie 1 

Gaeson. Well? 

Cassidy. (coming down center) Oh just a 
friendly little call. Where's the lady of the house ? 

Gaeson. (as he turns with his bach against the 
front of the table at left center) Why, she's out. 

Cassidy. (in a little sharper tone) Well, when 
she gets back, Joe, you tell her it's up to her to make 
her getaway and make it quick. 

Agnes. Say, you can't throw a scare into us. 
You haven't got anything on us. (at first word from 
Agnes, Cassidy turns to her) 

Gaeson. Eight. 

Cassidy. (^o Agnes) Nothing on you, eh ? (to 
Gaeson) You're Joe Garson, ain't yer? 

Gaeson. Well, what of it ? 

Cassidy. (feels his pochets quichly and takes out 
a note hooh from his vest pocket and opens it and 
reads) Joe Garson, forger. First arrested in '91, 
for forging the name of Edwin Goodsell for a check 
for ten thousand dollars; again arrested in '98, for 
forging the signature of Oscar Hemmingway to a 
series of counterfeit bonds ; arrested as the man back 
of the Eeilly gang in '03 ; arrested in '08 for forgery. 
(Cassidy returns hook to his pocket) 

Gaeson. (quietly) Haven't got any records of 
convictions, have you? 

Cassidy. No but we got the right dope on 

you. (turning to Agnes with sarcasm) And you're 
little Aggie Lynch, posin' as Mary Turner's cousin. 
Did two years for blackmail. Was arrested in Buffalo 



34 WITHIN THE LAW 

and served yer time in Auburn. Nothin' on yer? 
(looJcing at Gaeson) Well? (loohinq at Aggie) 

Well? 

Agnes. My Gawd, it looks as tho' you'd actually 
been working, {during the laugh, Cassidy looks 
"mad" turns to Gaeson and quickly turns and gives 
Agnes another look — th\en turns to Gaeson) 

Cassidy. And the head of the gang is Mary 
Turner. Arrested four years ago for robbin' "The 
Emporium." Done a stretch of three years, 

Gaeson. {quietly crossing to Cassidy) That all 
you got about her? 

Cassidy. That's enough, ain't it? 

Gaeson. Got anything in your record about her 
coming out of the stir without a friend in the world 
and tryin' to go straight? {pause. As Cassidy does 
not answer) I suppose you forgot about going to 
that millinery store where she finally got a job and 
tippin' them oS to where she came from? 

Cassidy. Sure they were tipped off. We got to 
protect the city. 

Gaeson. Yes. Got anything in that record of 
yours about her gettin' another job an' you folio win' 
up again, and havin' her thrown out? Got any- 
thing in that record about the letter you had old 
Gilder write tellin' the next people she was workin' 
for, what she's done to him, or what he thought she'd 
done? 

Cassidy. Oh, we had her right the first time. 

Gaeson. Yes, you did — not. She was railroaded 
for a job she'd never done. She went in honest and 
came out honest. 

Cassidy. And now she's here with a gang of 
crooks. 



WITHIN THE LAW 35 

Garson. Where else should she be? You got 
anything in that record about us jumpin' into the 
river after her? That^s where I found her — a girl 
that never done any harm to anyone — starving be- 
cause you bulls wouldn't give her a chance to work — 
in the river, because she wouldn't take the only other 
way left her to make a livin'. Have you got any of 
that in your little book? 

Cassidy. Guess you must be kinder stuck on her, 
eh? 

Gaeson. {turning away from Cassidy; quietly) 
Cut that. 

Cassidy. (sJiarply) What? 

Garson. (turning to Cassidy^ and stronger) 
Cut it! 

Cassidy. (stronger) Why, you don't mean ? 

Garson. (quicJcly up to Cassidy and looking him 
straight in the eye and speaking savagely) I mean, 
cut it. (pause. Then slowly and quietly) Do you 
get me? (pause. Then Cassidy sinks lack a step. 
Garson holds his position ivithout moving. Just as 
Cassidy shows the first sign of sinking, Agnes 
speaks) 

Agnes. He's got yer. 

Cassidy. (looking at Garson in admiration) 
Gee, you'd been a big man, Joe, if it hadn't been for 
that temper of yours. It's got you into trouble a 
lot of times, some day it'll get you in so wrong you'll 
never get out. 

Garson. (quietly hut firmly) That's my bus- 
iness, (pause, as Garson crosses left to front of 
table) 

Cassidy. (after pause) Well anyway, you've got 
to clear out — the whole gang of you — and do it quick. 



36 WITHIN" THE LAW 

Agnes, (rising, dropping magazine in chair and 
crossing- to Cassidy) Say, listen, we don't, scare 
worth a cent — ^you can't do anything to us. (as she 
turns away) We ain't broke the law. 

Cassidy. {in amazement) What? 

Agnes, (stopping suddenly and as she smiles 
over her shoulder at Cassidy) Well, maybe we've 
bent it. 

Cassidy. It don't make any difference what 
you've done. 

Agnes, (freshly) No? 

Cassidy. (positively) No. (loolcing from 
Agnes to Carson) Gee, things are comin' to a 
pretty pass when a couple of crooks gets to arguing 
about their rights. 

Gaeson. Yes. 

Cassidy. That's funny. 

Agnes. Then laugh, Ha ! Ha ! 

Cassidy. (sharply) Well, you've got the tip and 
it's up to you to take it. If you don't, one of you will 
make a long visit with some people out of town, (to 
Gakson) and it'll probably be — Mary. Eemember 
Joe, I'm givin' it to you straight, (starts up center 
toward door. Only gets a couple of steps when 
Agnes' voice stops him and he turns to Agnes) 

Agnes, (as she follows Cassidy up stage and 
stops at his right side — then in her ladylike man- 
ner) Do come again soon, won't you, little one? 
I've enjoyed your visit so much. Good afternoon. 
(Agnes kisses the tips of her fingers and quickly puts 
them on Cassidy's lips. Cassidy turns quickly away 
in disgust and exits up left center. Agnes standing 
still and looking after Cassidy) The truck-horse 
detective. An 18-inch collar, a 6I/2 hat. (crossing 
down toward Gakson" as far as chair right at table. 



WITHIN THE LAW 37 

at left center. Seriously) He was right about one 
thing, too. 

Gaeson. (as he starts across to chair left of trick 
table) 1 know — my temper. 

Agnes. Yes. 

Gaeson. I can't help it. (sitting in chair left 
of trick table and picking up newspaper from floor) 
I know I shouldn't let it break out, but I can't help 
it. 

Agnes. He had his nerve ; tryin' to bluff us. 

Gaeson. Perhaps it wasn't a bluff. 

Agnes, (as she takes a step toward Garson) 
What have we done? 

Gaeson. It ain't what you've done — it's what 
they can make the jury think you've done; and once 
they set out to get you, how they can frame things. 
If they ever set out after Mary 

Agnes, (crossing a little nearer Gaeson) Joe, 
you're a grand little forger, but Mary's got the brains 
and I'll string along with her as far as she wants to 
go. She's educated me. She talks like a lady and 
she acts like a lady, (as she does an exaggerated 
ladylike walk up to hack of chair right of table at 
left center — Gaeson watching hep — in her ladylike 
manner) She's trying to make a lady out of me. 

Gaeson. (as he continues to read his paper) 
She's got a swell cli^nce. 

Agnes. Is that so ? Pipe the tea-stuff ! (in rather 
exaggerated society manner at the back of table at 
left center. Gaeson watches her. As she pretends 
to shake hands) How do, you do, Mrs. Jones? So 
good of you to call! (turning to the other side) 
Oh, my dear Miss Smith, this is a pleasure ! (pre- 
tending to put sugar in a cup of tea) One lump or 
two? (as if she had cream in her hand) No cream? 
Oh, dear, and it's so expensive this year! (as she 



38 WITHIN THE LAW 

pretends to hand cup of tea to someone) Yes, I 
just love bridge. No, I don't play it, biit just the 
same I love it. {as she crosses toivard Gaeson just 
beyond chair right of table, talking naturally) 
That's the kind of stuff she's been havin' me do. 
{turning and crossing to table at left centre and 
below chair at its right) And, believe me, it's pretty 
damn near killed me ! {pichs up magazine from 
table) 

Gahson. {as he returns to reading) Mary's re- 
fined all right. 

Agnes, {turning to Gaeson quickly) Sure she 
is, but she does some things that certainly get me. 
{as she looks around room) Look at this room. 
{to Gaeson) It's supposed to be swell. Well, I 

can't see it {as she sits in chair right of table at 

left center and faces front) — why, she ain't got one 
gold chair in the whole place ! 

Gaeson. I'll bet it's the goods just the same. 
{door bell rings) 

Agnes, {as she turns in her chair so as to face 
Gaeson) Sure — I'm for Mary strong. Stick to her 
and you'll wear diamonds, {regretfully) I wish to 
God she'd let me wear mine — but she won't — she says 
they're vulgar. Now how can anything be vulgar 
that costs two hundred and fifty a carat? (Fannie 
opens door and closes it after her and stands just 
inside the door) 

Gaeson. Search me ! I don't know. 

Fannie. There's a girl wants to see Miss Turner. 

Agnes, {in her society manner) Has she a 
card? 

Fannie. No, but she says it's very important. 

Gaeson. {to Agnes^ dropping his paper to the 
floor between his chair and trick table) Better have 
her come in and wait. 



WITHIN THE LAW 39 

Agnes, {in her society manner) Fannie, tell the 
young lady to come in. (Agnes holes at Gaeson 
and Garson watches Agnes, smiles as she gets up 
and does her society wall: down to the front of the 
table at left center. Agnes then turns to Gaeson 
with a knowing smile) 

Gaeson. (after Agnes looJcs at him, rises and as 
he goes up to door at up right center) 1 wonder who 
it is? 

Agnes, (naturally) ISFo idea — but it can't do no 
harm to have her in and pipe her off. 

Gaeson. Eight. (Fannie opens door at up 
left center and Helen, pale and shabbily dressed, 
enters and stops just inside the door and Fannie 
closes the door) 

Agnes (as Helen stops. In her society man- 
ner) Won't you come in, please? 

Helen. (Helen tvdlks down center in silence 
until she faces Agnes) Are you Miss Turner? 

Agnes, (in her society manner) Oh, I'm awful- 
ly sorry, I'm only her cousin Agnes Lynch. 

Helen, (as she slightly drops her head in dis- 
appointment) Oh ! 

Agnes, (quickly and in her society manner) 
Miss Turner will be back almost any moment now. 

Helen, (a little anxiously) Could I wait? 

Agnes, (as she indicates chair left of trick table, 
then in her society 'manner) Oh, yes. Won't you 
sit down, please? (Helen crosses to chair indicated. 
Agnes crosses to chair right of table at left centre 
and Gaeson quietly comes doivn to back of trick 
table. Helen does not notice Gaeson. As Helen 
sits in the chair Agnes sits and Gaeson speaks to 
Helen a little sharply) 



40 WITHIN THE LAW 

Garson. You don't know Miss Turner? {at 
Gaeson's first word, Helen slightly turns to Gar- 
son and shrinJcs a little) 

Helen. No, sir. 

Garson. What do you want to see her for? 

Helen. She once helped a girl friend of mine 
and I thought 

Garson. She might help you ! 

Helen, (as she hows her head) Yes. 

Agnes, {quickly rising and starting toitmrd 
Helen and naturally) Then you've been in stir — 
{a quick look of warning from Garson and a look 
of surpj'ise stops Agnes shortly at center and then 
in her ladylike tone) — prison, I mean? 

Helen, {dropping her head with shame) Yes, 
Miss. 

Agnes, {in her affected manner and taking the 
stage to the front of table at left center) How sad, 
how very very sad ! 
(Fannie opens the door at up left for Mart, who 

stops in the doorway and gives her hat, parasol and 

gloves to Fannie, then "steps into the room and 

sees Helen as Fannie closes the door) 

Mary, {coming down c. To Agnes) A visitor, 
Agnes? (Agnes nods as Mary takes a step or two 
toward Helen, On Mary's first word Helen turns 
in her chair toivard Mary and slowly recognizes her) 

Helen, {rising and turning toward Mary) 
You — you are Miss Turner? - 

Mary. Yes. 

Helen, {as she faces front) Mary Turner ! {as 
she sinks into chair) Oh, my God! (Mary crosses 
quickly to Helen, then to Garson, who is still hack 
of trick table) 



WITHIN THE LAW 41 

Mart. Joe, have Fannie bring a glass of milk 
with an egg in it, quick, please. (Gaeson crosses 
quickly to up left center and exits) 

Helen. I didn't know. 

Mary, {with her arms around Helen's shoul- 
ders) Don't try to talk until you've had something 
to eat. 

Agnes, (crossing part way toward Helen) 
She's hungry and I never even thought of it. Ain't 
I the simp? 

Helen. I'm starving. 

Mary, (helping Helen to rise) I understand. 
(to Agnes^ quickly crossing to Helen's right and 
putting her arms around Helen and helping her) 
Take her to my room, (all three start across stage 
left, and as they get to table at left center Mary 
drops hack and follows) Have her drink the egg 
and milk slowly, then lie down for a while. 

Agnes. Sure. You come along with me. We'll 
fix you up, all right. Come along with me. 
(Helen and Agnes exit through door at left. Mary 

stops at door watching them. Garson enters at 

up left center door, coming down to back of table 

at left center as he speaks) 

Garson. Mary. 

Mary, (turning away from door and crossing to 
back of chair left of table at left center) Yes. 

Garson. There's a man named Ir^vin out there — 

Mary. Oh ! General Hastings' lawyer. 

Garson. Yes. He says he wants to see you. 

Mary, (after a moment's thought) Would you 
mind asking him to come in, Joe? (Garson starts 
toward door at up left center) Fannie's busy get- 
ting something for that poor girl in there. (Garson 
exits, closing door) Agnes, oh Aggie, just a minute 
please. (Agnes enters and crosses to Mary. Mary 



42 WITHIN THE LAW 

puts her arms around Agnes' shoulders) Mr. Irwin, 
General Hastings' lawyer is here. He wants to see 
you. When I call, come in please, but you'd better 
leave everything to me. Just follow my lead — 
(Agnes smiles and starts toward door left. Mary 
stops her) And Agnes, be very ingenue. 

Agnes. I'm wise, (crosses to door left and turns) 
I'll be a squab. 

(Agnes exits and Garson opens door, and Irwin^ 
dropping his hat on table, steps into the room and 
stops just at the head of the couch. Irwin is 
followed hy Fannie, who carries a glass of milk 
on a tray and stops just above table at left centre. 
Garson closes door and Mary passes around to 
the front of chair, left of table at left center) 
Mary, (to Irwin) You wanted to see me? 
Irwin. Yes. (Irwin comes slowly down center) 
Mary, (to Fannie) Take it to my room, please. 
(Fannie crosses and exits through door left)' 
Irwin. I hope no one is ill? 
Mary. No. Just a poor girl half starved — that's 
all. (to Irwin) Won't you sit down, (pause as 
Irwin sits in chair right of table and Mary sits on 
chair left of table. Each ivatching the other) 

Irwin. I called in reference to the suit which 
Miss Agnes Lynch threatens to bring against my 
client. General Hastings. 

Mary. It isn't a threat, Mr, Irwin. The suit 
will be brought. 

Irwin. Of course you realize that it's blackmail. 

(Fannie enters at door left and crosses up toward 
door at up left center) 

Mary. If it's blackmail, Mr. Irwin, why don't 
you consult the pol — ? Oh, Fannie — (Fannie stops 
and turns to Mary) Will you ask Miss Lynch to 



WITHIN THE LAW 43 

come in, please? (Fannie crosses to door left and 
exits) Eeally, Mr. Irwin, I think you'd better take 
this matter to the police. 

Iewin. You know perfectly well that General 
Hastings cannot afford such publicity. 

Mart. I'm quite sure the police would keep your 
complaint a secret. Eeally, Mr. Irwin, why don't 
you tell your troubles to a policeman ? 

Irwin. Very well, then, (rising and crossing 
quickly up toward door at up left center) I will. 

Mary, {rising and pushing phone toward Irwin) 
3100 Spring will bring an officer almost immediately. 

(Irwin comes down quicldy, picJcs up 'phone and is 
about to lift off receiver when Mary lau-fhs. He 
quickly sets it down, and crosses down center) 

Irwin. Kevertheless General Hastings did not 
promise to marry that girl. 

Agnes. (Agnes appears in doorway followed by 
Fannie who quickly crosses to door up left center 
and exits. Shyly and slowly coming toward Mary) 
Did you want me, deai>? 

Mary, (putting her arm around Agnes^ shoulder 
and bringing her forward toward Irwin) Yes, 
Agnes, this is Mr. Irwin, who has come to see us in 
behalf of General Hastings. 

Agnes, (shrinkingly and burying her face in 
Mary's shoulder) Oh, I'm frightened. 

Mary, (petting her) Nonsense, 'dear, there's 
nothing to be frightened about — (Mary takes Agnes 
by the shoulders and looking her in the eye with an 
occasional side glance at Irwin) Of course, you 
know, my dear, that under no circumstances must you 
say anything that isn't true, and if General Hast- 
ings did not promise to marry you, you have no case. 
(pause, as Mary backs Agnes up and sits in chair 



44 WITHIN THE LAW 

left of table at left center and Agnes kneels at 
Mary's left, and a little below her facing Irwin) 
Now, tell me, did the General promise to marry you ? 

Agnes. Oh yes, Oh yes, and I wish he would ; he's 
such a delightful old gentleman. 

Irwin. Was that promise made in writing ? 

Agnes. No {pause, as Irwin turns away with 

a smile) But all his letters were in writing, {pause 
as Irwin turns back to look sharply at Agnes and 
the smile leaves his face) Oh, such wonderful let- 
ters — so tender and — er — interesting. (Agnes buries 
her face in Mary's lap) 

Irwin. Yes. I dare say, I dare say. 

Mary, {as Agnes raises her head and looks at 
Mary) But you are quite sure the General did 
promise to marry you? 

Agnes. Oh, yes, I'd swear to that. 

Mary, {to Irwin) You see, sir? She'd swear 
to that. 

Irwin, {pause, as he thinks) Well, we're beaten. 
{a quick look between Mary and Agnes. As Irwin 
crosses to right of table at left centef and Mary 
watches him warily) I'm going to be quite frank 
with you. Miss Turner, quite frank, (Irwin during 
the following speech takes a wallet from his inside 
pocket, extracts a package of money, returns wallet 
to his pocket) We can't afford any scandal, so we're 
going to settle at your own terms. (Irwin rifles the 
package of yellow-backs and Agnes leans forward 
eagerly. Mary watches Ik win) We can't fight 
where ladies are involved, so if you just hand over 
General Hastings' letters, why here's your ten 
thousand dollars, {drops package of money on table 
and turns away taking stage center. As his back 
turns Agnes makes a grab for the money and Mary 
quickly grabs her wrist and pushes her back to her 



WITHIN THE LAW 45 

forme?- position as Irwin turns to them again) You 
have the letters, haven't you ? 

Agnes, (putting her hand over her heart) They 
never leave me. 

Iewin. (crossing toward Agnes as far as the 
table at left center and with hand outstretched) 
They can now. (Agnes about to reach into her dress 
and take them out when Mary lays a restraining 
hand on Agnes^ hand and rises at the same time fac- 
ing Irwin. Agnes rises and stands hack of Mary) 

Mary. Not quite yet, I'm afraid. 

Irwin, (as he turns and takes stage center) 
But there's your money, waiting for you. 

Mary, (as she crosses part way over to Irwin, 
and in a doubtful tone) I think you'd better see 
our lawyer, Mr. Harris, first. 

Irwin. Oh, there's no need of all that formality. 
Just a friendly little arrangement between ourselves. 

Mary, (all doubt gone — with a smile, as she 
crosses up to Irwin and Agnes moves to the center 
of the table at left center) Now I'm quite certain 
you'd better see Mr. Harris first. ^ 

Irwin, (seeing he has been tricked) Oh, I see. 

Mary, (with meaning) Yes, I thought you 
would. If you'll take your money to Mr. Harris, 
Miss Lynch (Mary turns to Agnes, then hack to 
Irwin) will meet you in his office at four o'clock, 
and when her suit for breach of promise is legally 
settled out of court, you will get those letters, Mr. 
Irwin. Good afternoon. (Irwin bows gravely and 
starts to door at up left center. Mary crosses to 
chair at left of trick table. Just as Irwin is about 
to go out the door, Mary speaks) ■ Oh — (Irwin 
stops) — ^you forgot your marked money. 



46 WITHIN THE LAW 

(Mart sits in chair. Ikwin crosses doivn helow 
chair right of table at left cetiter, picl's up money 
then crosses quicMy up to door, up left center, then 
turns to Mary) 
Irwin, (sharply) Young woman, you should 

have been a lawyer! 

(Irwin exits and Mary laughs) 

Mary, (laughingly) Thank you. 

Agnes, (crossing quiclcly to Mary) Say, you 
darned near broke my heart lettin' all that money get 
out of the house. How'd you know it was marked? 

Mary. I didn't, but it was a pretty good guess, 
wasn't it? Couldn't you see that all he wanted was 
to have us take the money, get the letters, and then 
we'd havfe been arrested for blackmail. • 

Agnes. Where do we get off now ? 

Mary. Now he'll go to our lawyer — hand him 
over the same marked bills, get the letters he wants 
so much, and because it's a transaction between two 
lawyers with everything done according to legal 
ethics — 

Agnes. W^hat are legal ethics? 

Mary. Get it legally and get twice as much. 

Agnes. But it's the same game. 

Mary. Agnes, a shameless old roue makes love 
to you and writes you silly letters — 

Agnes. He might ha\^ ruined my life — ! 

Mary. If you'd asked him for ten thousand dol- 
lars for the return of his letters, it would have been 
blackmail and we'd have gone to jail; but a lawyer 
threatens a suit for breach of promise for ten 
thousand dollars — his lawyer steps in; they have con- 
ferences, they run up bills of expenses and in the end 



WITHIN THE LAW 47 

we get our ten thousand, he gets his letters and we're 
safely within the law and there you are. (Maey rises 
and crosses down right to armchair) 

Agnes. All too much for me. (goes up to chair 
in front of desh'at light) 

Gaeson. (enters up left center and as he crosses 
down center. To Maey) Is it all right? 

Mary. Certainly. 

Gaeson. (at center) Did you get ten thousand ? 

(Helen enters at door left, talces a quick look and 
as no one is looking her luay, starts quickly for 
door up left center) 

Maey. (turning to Gaeson) Yes. 

Gaeson. Fine ! (starts to cross l. and just gets 
as far as front of table at left center as Maey dis- 
covers Helen. Helen is about to put her hand on 
the knob of door at up left center. As Mary speaks 
Gaeson stops and watches Helen witJt his back doivn 
stage and Agnes who is about to sit at desk right, 
stops and watches) 

Mary, (quickly, crossing up to Helen) Why, 
you ought to rest. (Helen stops) 

Helen, (without looking up) I'm all right. 

Maey. Quite sure ? 

Helen. Yes, 

Maey. (putting her arm around Helen's shoul- 
der and bringing her to chair left of trick table 
Garson crosses around to chair left of table at left 
center and Agnes brings the desk chair down to the 
right of trick table and slightly above it) Then 
come over and sit down and tell us all about it. 
(Helen sits left of trick table. Garson sits left of 
table at left center, watching the whole scene and 
never taking his eyes off Mary. Agnes sits in chair 
she has brought down to right of trick table. Maey 

4 



48 WITHIN THE LAW 

crosses over and takes chair from right of table at 
left center, brings chair bach to center and sets it a 
little above Helen and half facing her, and stands 
back of it. As Maey gets the chair she gives Gaeson 
a look) 'Now then, what's your name ? 

Helen", (facing down stage and half huddled 
in chair) Helen — Helen Morris. 

Mary, There's no need my asking if you've been 
in prison. Your face shows that. 

Helen. I came out three months ago. 

Mary. And you've made up your mind to go 
straight ? 

Helen. Yes. 

Mary. You are going to do what the chaplain 
told you — start all over again — begin a new life? 
(Helen nods "Yes") It doesn't work very well, 
does it? (comes around chair and sits so that she is 
half facing Helen) 

Helen. No, I'm beaten. 

Mary, (first giving Garson a look) Well, how 
would you like to work with us? 

Helen, (as she turns toward Mary in surprise) 
You are — 

Mary. Certainly, it pays to when you know how. 
Look at us. 

Agnes. (Helen turns and looks at Agnes on 
her first word) Hats from Joseph's, gowns from Lu- 
cille's, and cracked ice from Tiffany's. (Helen con- 
tinues to look at Agnes until Mary's first word, then 
she looks straight front and shows during Mary's 
following speech that it is not to her liking) 

Mary, (watching Helen closely) Suppose I 
stake you for the present and put you in with the 
right people ? All you'll have to do is answer ads for 
servant girls — I'll see that you have the best of 



WITHIN THE LAW 49 

references, and then when you get in with the right 
people, you'll open the front door some night, and 
let in the gang. Of course you'll make your getaway 
when they do and get your bit as well. (Helen half 
turns to Maey as if about to speak then turns away. 
Mary gives Gaeson a smile) Doesn't suit you — • 
(Helen nods her head — no. Maey rises and crosses 
to Helen) Good! I hoped you wouldn't. Now 
here's my real plan. (Helen is all attention and 
at first suspicious, gradually shoivs that Maey's fol- 
lowing speech is to her liTcing. Maey steps a little 
hack from Helen) Suppose you go West — where 
you'd have a fair chance — with money enough to live 
like a human being until you get a start. (Helen 
looks up at Maey) I'll give you that chance if you 
really want it. 

Helen, {rising and turning to Mary) Oh, I 
do — I do. 

Maey. {taking Helen's hands) Then I've just 
one thing to say to you iirst. If you're going to start 
fresh, go through with it. Do you know what that 
means ? 

Helen, {turing away from Maey and looking 
out front) You mean, keep straight? 

Maey. I mean forget that you've ever been in 
prison. I don't know what you've done, but what- 
ever it was you've paid for it — a pretty big price, too. 

Helen. I have, I have! 

Maey. Well, then, stand up for your rights ; don't 
let them make you pay again and don't tell the first 
people who are kind to you that you've been crooked. 
If they think you're straight — be it ; will you promise 
me that ? 

Helen, {very seriously and turning to Maey) 
Yes, I promise. 



50 WITHIN THE LAW 

Mary. Good. Then wait a minute. (Mart 
takes Tier chair, returns it to its place at right of 
table left center, crosses behind table around to 
other side. To Garson) Excuse me, Joe. (Gar- 
son draws his chair bach and Mary opens drawer., 
takes out purse from which she takes a roll of money, 
returns purse to drawer and closes it; and as she 
speaks, crosses stage to Helen counting money 
and reaching Helen on her last word. Helen has 
been watching Mary.) Take this — it will pay your 
fare West and keep you quite a while if you're care- 
ful. 

Helen, (about to take it, looks up at Mary and 
shrinks away a step and turns front) I can't take 
it — I can't. 

Mary. Why, didn't you come here for help ? 

Helen. Yes, but I didn't know it was you. 

(Helen realizes she has made a mistake in admit- 
ting she knows Mary.) 

Mary. Oh, then you've met me before? 

Helen. No. 

Agnes, {rising quickly and stepping down on a 
level with Helen at the side of trick table) 

Garson. {as he rises and crosses to center) Yes. 

Helen. No. 

Mary, {after a quick look at Garson) You'v^e 
met me before. Where? 

Helen. I can't tell you. 

Mary. You must. 

Helen. I can't. 

Mary. Why not? 

Helen. Because — ^because — 

Mary. Well? 

Helen. Oh, I can't. 



WITHIN" THE LAW 51 

Mary, (pause) What were you sent up for? 
(pause) Tell me. (pause and harder) Tell me. 

Helen. (Helen turns her eyes to Mary, then 
front again, then answers slowly) For stealing, 

Mary. Stealing, what? 

Helen, (another looTc, then front before answer- 
ing) Goods! 

Mary. Where from? 

Helen, (another glance from Helen, then as she 
turns front, she swallows, her lips tremhle and finally 
she answers) The Emporium. 

Mary, (noio convinced of what she suspects) 
Then you are the girl who — ! 

Helen, (turning to Mary) I'm not, I'm not! 

Mary. You are, you are ! (turning to Garson) 
She did it. (Garson starts quichly forward to 
Helen. Mary just stops him before he crosses her) 
Joe ! (Garson stops and steps bach with his face up 
stage. At Garson's first move Helen shrinks into 
chair left of trick table and buries her head in her 
hands on the trick table. To Helen) Why did you 
throw the blame on me? 

Helen, (taking her hands from her face and 
facing front) I found out they were watching me 
and I was afraid they'd catch me, so I took 'em and 
ran into the cloak room and put 'em in a locker that 
wasn't close to mine and some in the pocket of a 
coat that was hangin' there, (turning to Mary 
pleadingly) I didn't know whose it was, I just put 
them there — (turning front) — I was frightened. 

Mary. And you let me go to prison for three 
years ! 

Helen, (turning to Mary) I was scared — 
(turning front) 1 didn't dare tell. 

Mary. But they caught you later. Why didn't 
you tell then? 



52 WITHIN THE LAW 

Helen. I was afraid. I told 'em it was the first 
I took and they let me off with a year, {on the last 
word she cries and luries her face in her hands) 

Mabt. (turning up stage) You cried and lied 
and they let you off with a year ! I wouldn't cry and 
told the truth and — (Maey starts to break down) 

Gaeson. Mary, don't! 

Helen, {turning half to Maky) I'll never for- 
give myself — never. 

Maey. Oh yes, you will. (Helen again buries 
her face in her hands. Maey turns and looks at 
Helen^ having controlled herself) People forgive 
themselves pretty easily. (Helen cries aloud) Oh 
stop crying, no one's going to hurt you. (Helen 
continues to cry softly with her hands up to her 
face. Maey offers the money) Here take it and 
get out. 

Helen. I can't take it. 

Maey. {forcing it into her hand; and crossing to 
armchair down right with her back to center) Take 
it before I change my mind, and get out. 

(Helen rises with her hands over her face, crosses 
left until she almost runs into Gaeson at center 
then looks and sees an awful look on his face and 
quickly slinks up to door up left with her hands 
over her face and sobbing softly, exits. At 
Helen's exit Agnes turns to look at Maey) 

Maey. {kneeling in arm chair at the closing of 
the door and crying) A girl I didn't know — to 
smash my life like that — if it wasn't so awful, it 
would be funny^it is funny, {slipping down into 
chair with her head on the down stage arm, and, 
hysterically) It is funny. 



WITHIN THE LAW 53 

(Agnes and Gakson both cross quickly to Maey, 
Agnes above Mary and puts her hands on her 
shoulders. Gaeson goes over to Mart as he 
speaJcs) 

Gaeson. Mary, don't do that. That's no good. 
{pause as Mart regains her self-control and Gaeson 
crosses to front of trich table quietly and faces up 
stage) 

Maet. (through her tears and sobs) You're 
right. It's done and it can't be undone; but the 
sight of that girl you understand. 

Garson. (crossing as far as chair left of trick 
table with his face still up stage) Sure we do. 

Agnes, (bending over Mart, with her right 
cheek close to Mart's left, quietly) Yes, but if a 
dame sent me up for three years and then wanted 
money from me, do you think she'd get it? Not 
much. 

(Mart pats Agnes' cheek then slowly rises and 
crosses to chair left of table at left center and sits 
facing doiun stage. Agnes sits on chair down 
right vacated by Mart. As Mart passes Garson, 
he turns and follows her across stage to the upper 
end of the table at l. c.) 

Garson. (as Mart passes him) Mary, I've got 
something to tell you. Cassidy was up here from 
headquarters. He didn't put a name to it — but I'm 
on. I guess you'll have to quit seeing young Gilder. 
The bulls are wise, (as Garson crosses doivn center) 
His father's made a holler. 

Mart, (pause, then quietly) Don't let that 
trouble you. I was married to Dick less than an 
hour ago. 

Garson. (turning to Mart.) Married? 



54 WITHIN THE LAW 

Mary. Yes. 

Agnes. Well I'm glad you landed him. 

Garson. {to Agnes) Wait a minute, {then 
crossing to right of table at left center) Do you 
love him? 

Mart. No. 

Gaeson. (persistently) Do you love him? 

Maey. (pause) No, NO ! 

Agnes. Then why did you marry him? 

Maey. I married him to get even with his father. 
I've been working and scheming for nearly a year to 
do this and now it's done. It's only beginning, too. 

Gaeson. (crosses up hacJc of chair at right of 
table at left center) Then everything's goin' on as 
before — you won't leave us ? 

Maey. Leave ? Certainly not ! 

Agnes. You'll live here in this house with me? 

Maey. Yes ! 

Agnes. Well, where will hubby live? 

Maey. Anywhere but here. 

Gaeson. Does he understand the arrangement? 

Maey, No, not yet. 

Agnes. Well, when you tell him — break it to him 
gently. 

Gaeson, (coming down center. To Agnes) 
Pretty tough on him. He's a fine young fellow. 
(goes up bach of chair right of table at left center) 
He must think a lot of you ! Don't he ? 

Maey. Yes, I suppose so. 

Agnes. Only enough to marry her. (pause) 
And when a man thinks enough of you to marry 
you — believe me, that's some thinkin'. 

Gaeson, (crossing up back of table at left center) 
Well, I'd say chuck up the whole game and go to 
him if you cared — and you don't, do you ? 



WITHIN THE LAW 55 

Mart. I married him to get even with his father. 
That's all there is to it. I expect he'll be here in a 
minute or two and when he comes — (door hell rings 
and Gaeson crosses to door up right center and with 
his left hand on the Jcnoh) 

Mary, (rising) If that's he, Agnes, don't for- 
get all I've tried to teach you. 

Agnes, (rising and crossing up center) Don't 
worry about me. Whenever it's really wanted I'm 
always there with a full line of lady stuff. 

Fannie, (enters at up left center door and closes 
it after her) Mr. Gilder, Miss. 

Mary, (eagerly) Anyone with him? 

Fannie. No, Miss. 

Mary, (showing disappointment) Have Mr. 
Gilder come in. (Fannie exits left center and closes 
door after her) 

Garson. I guess you can excuse me. I'll see 
you when I'm wanted, (exits at up right door) 

Mary, (as she starts across stage right, stops and 
turns to meet Dick in front of chair left of trick 
table. Agnes starts crossing left at the same time 
and does not stop until she is standing in front of 
chair left of table at left center) Don't forget, 
Agnes. 

Agnes, (as she is crossing) I'm there — I'm 
there. 

Dick. (Dick enters at up left door and dropping 
his hat on the head of couch rushes down to Mart. 
Mary receives him with one hand extended which he 
takes and attempts to draw to him and kiss her) 
Hello, dear. 

Mary, (holding him off) Don't, don't — please, 
Agnes. (Dick releases Mary and turns to Agnes. 
Mary goes across right below armchair down right 
and to the back of it) 



56 WITHIN THE LAW 

Dick. I beg your pardon, Miss Lynch. But you 
could hardly expect me to see anyone but Mary under 
the circumstances, could you ? 

Agnes, {in her society manner) Under what 
circumstances, Mr. Gilder? 

Dick. Why, hasn't Mary told you? We were 
married this morning. 

Agnes. Goodness gracious! How perfectly 
lovely! (s-its in chair left of table at left center) 

Dick. You bet, it's lovely, (crosses to Maky 
and kneels in chair down right with his arm around 
Maey's shoulder) Now listen, dear, I've got the 
honeymoon trip all arranged. The Mauretania sails 
at five in the morning, so we'll — 

Maey. (interrupting) Where's your father? 

Dick. Oh Lord, I'd forgotten all about Dad. 
I'm awfully sorry — I'll tell you what we'll do ; we'll 
send him a wireless and write him from Paris. 

Maey. What was your promise? I told you I 
wouldn't go away with you until you brought your 
father to me and he'd wished us happiness. 

Dick. You're going to be stubborn and hold me 
to my promise? 

Maey. (with meaning) I'm going to hold you 
to that promise. 

Dick, (off chair and talcing a step hacJc toward 
center and looking at his watch) All right, Mrs. 
Gilder — (with a laugh) Sounds fine, doesn't it? 

Maey. (with meaning) Yes. 

Dick, (returning to his former position at chair) 
You pack up what things you need — not much, be- 
cause they sell clothes in Paris — and I'll run over 
to Dad's office and have him back here in half an 
hour.^ You'll be all ready, won't you ? 

Maey. Yes — I'll be ready. Go and bring your 
father. 



WITHIN THE LAW 57 

Dick, (as he tightens his arms about Mary and 
attempts to draw her to him) You bet I will. 
(Mary holding away from him) V/hat's the mat- 
ter? 

Mary. Nothing. 

Dick. But, Mary, just one. 

Mary. No — NO. Please. 

Dick, (releasing her) For a married woman 
you are certainly shy. (then off chair quickly, speak- 
ing to Agnes as he goes up center and gets his hat) 
You'll excuse me, won't you, Miss Lynch ? . (turning 
to Mary with his hand on door knob) Good bye, 
Mrs. Gilder — Mrs. Gilder, doesn't that sound im- 
mense? (exits at left center door, closing it after 
him. As the door closes Mary leans against the back 
of the chair down right and then crosses up and picks 
up small mirror from top of desk at right and ar- 
ranges her hair) 

Agnes. Oh gee, the poor simp. 

(Garson enters at up right door, closes it after him 
and looks around room quickly, then, as he crosses 
down to chair left of trick table) 

Garson. Where's he gone? 

Mary. To bring his father. 

Agnes. I suppose I'll miss that — I've got to be 
at that lawyer's at four, (a look of amusement 
passes between Garson and Mary) 

Mary, (as she starts across stage left and below 
trick table toward Agnes) Yes, and you'd better be 
getting ready, too. 

Agnes, (rising) I know it. (crossing up to 
door at left) That's what I'm kicking about. 

Mary, (as she sits in chair left of table at left 
center and Garson sits in chair left of trick table, 



58 WITHIN THE LAW 

picTcs up newspaper and starts reading it) Have you 
that release for me to look over? 

Agnes, {as she turns in doorway at left) Yes, 
but I don't see the use of it, all I want is the coin. 
(Agnes exits through door left) 

Gaeson. It's a good thing for her she met you. 

Maey. (as she tahes a memo took from drawer 
and makes memos in it) Why? 

Gaeson. She hasn't got the brains of a knot. 

Maey. Brains are useful, even in our business. 

Gaeson. I should say they were. You've proved 
that. 

(Ag]^es re-enters from door left with her hat on and 
gloves ?Md purse and legal paper in her hand. She 
crosses hack of Maey''s chair and stands at the hack 
of the tahle at left center) 

Agnes. Here it is. {hands Maey legal paper) 

Maey. {opens legal paper and reads it a moment) 
Tell Harris it's splendid, {hands legal paper to 
Agnes) Just what we wanted. 

Agnes. Seems to me we're goin' through a lot of 
red tape? . 

Maey. Agnes — the last time you tried to separate 
an old gentleman from part of his money you got 
two years. 

Agnes. But that way was so exciting. 

Maey. And this way is so safe. Your way didn't 
get the money. Mine will — your way was blackmail, 
mine isn't. Understand? 

Agnes. .Sure, {turns and as she goes toward 
door up left center) It's as clear as Pittsburgh, 
(Agnes exits at up left center door. Gaeson and 
Maey hoth laugh) 

Gaeson. Solid ivory, {door-hell rings) 



WITHIN THE LAW 59 

Maey. (making notes in note-hoolc) She's a 
dear, anyway. You don't half appreciate her, Joe. 
Gaeson Why sure she is. Did you pipe that lid ? 

(Fannie enters up left center door and closes it after 

her) \ 

Fannie, (smiling) Mr. Griggs, Miss. 

Maey. Well, have Mr. Griggs come in. (Fannie 
exits up left center door closing it after her) 

Gaeson. English Eddie? 

Maey. (laying note look on the table in front of 
her) 1 wonder what he wants. 

Gaeson. Probably got a trick for me. We used 
to work together. 

Maey. Joe, nothing without my consent ! 

Gaeson. Oh, no, sure not. 

(Fannie goes up left center door and Geiggs enters 
coming just over the door sill. Fannie is smiling 
hroadly and closes door after him) 

Geiggs. (to Maey) How do you do? (as he 
crosses to center) Hello Joe. 

Gaeson. (drops newspaper to the floor between 
chair and trick table, rises smiling)- Hello, English. 

(Gaeson moves a few steps up stage) 

Maey. (looking at Geiggs' swagger clothes, he 
standing center for her to admire him. Maey is 
laughing) Eeally, you overcome me. 

Geiggs. Well, I think it rather neat myself. 

Maey. Even for you. 

Geiggs. Yes. (turning and laying his silk hat 
on couch and returning to his former position) 
Even for me. 

Maey. Is this a social call? 



60 WITHIN THE LAW 

Griggs. Well, no, not exactly. 

Mary. That's what I thought. Sit down, please. 

Griggs. Thanks. 

(Griggs takes the chair from right of table at left 
center and turns it with his left hand so that it 
is just opposite Mary and points slightly down 
stage and a little away from table and with the 
chair back to Mary. He then straddles the chair 
with his left arm across the lack) 

Mart, (after Griggs is settled) What's the 



game 



Griggs. The greatest game in the world, {half 
turns his head toward Garson) Get in on this, Joe. 

(Garson" crosses to the back of the table at left cen- 
ter as Griggs continues) 

Griggs. Two years ago a set of Gothic tapestry 
worth three hundred thousand dollars and some 
Fragonard panels, worth nearly as much, were 
plucked from a chateau in France and smuggled into 
this country. 

Mary. I've never heard of that. 

Griggs. Why, no, certainly not — it's been kept on 
the dead quiet. 

Garson. {to Mary) Are them things worth 
that much ? 

Mary. Sometimes more. The Metropolitan has 
a set of Gothic tapestries worth half a million, 

Garson. Half a million for a set of rugs to hang 
on its wall, {starting toward chair at down left) and 
they wonder at crime ! {sits in chair down left, 
facing Griggs) 

Griggs. Now about a month ago the things I 
was telling you about were hung in the library of a 



WITHIN THE LAW 61 

millionaire in this city, {to Gaeson) Let's go 
after them. They were smuggled, mind you, and he 
can't squeal no matter what happens, (pame) Well 
what do you say? 

Gaeson. It's up to Mary. 

Gkiggs. (to Maey) Well? 

Mary. It's out of our line. 

Griggs. Well I don't know any easier way to get 
half a million. 

Mary, (rising) It wouldn't make any difference 
if it were fifty million. It's against the law. 

Griggs. I know, but if we can 

Mary. My friends and I never do anything that's 
illegal ! (with a smile) Thanks for coming to us, 
Mr. Griggs, but we can't go in. (picks up note-booh 
and starts down left. Griggs rises and turns chair 
around so that he is standing at the hack of chair 
without changing his position) 

Griggs. Now wait a minute, this chap Gilder is — 
(as Mary turns to Griggs and Garson rises from 
his chair) 

Mary and Garson. Gilder? 

Griggs. Yes, you know, that linen-draper chap. 

Garson. There's a chance for you, Mary. 

Mary, (facing Garson) No, I won't be mixed 
up in anything that's outside the law. 

(Griggs during the following couple of speeches steps 
hack up stage watching Mary and Garson and 
drawing the chair he was standing hehind with 
him) 

Garson. But it's Gilder, the man you — 
-Mary. I know, but it's illegal and I won't touch 
it, and that's all there is to it. (Garson with a growl 
starts up stage and just as he is alongside of Mary 



62 WITHIN THE LAW 

she puts her right hand on his arm as she speahs) 
Joe! 

Gaeson. (pauses) Yes. 

(Garson goes up to lack window with his hack down 
stage. Mary turns and looks at Griggs a moment, 
then drops the notebook on the table and crossing 
to the door left, exits closing the door after her. 
At the close of the door, Garson starts down stage 
slowly and does not stop until he is in front of 
table at left center) 

Griggs, (who is watching Garson closely, speaks 
on Garson's first move. Insinuatingly) Half a 
million ! 

Garson. (while walking, half to himself) Half 
a million. 

Griggs, (temptingly) There's a stake worth 
playing for. (Griggs down to Garson's right a 
little above him dunng the following line) Think 
of it, Joe, a half a million ! 

Garson. (half to himself, and walking front) 
Half a million. 

Griggs. And it's the softest money you ever saw. 
(as he takes paper from his pocket and unfolds it) 
Here's a plan of the house. (Griggs looks at Gar- 
son, Garson slowly turns and looks at Griggs. As 
Garson looks at Griggs he slowly offers the paper to 
Gakson, Garson slowly takes it then as he turns 
front toJook at it Griggs backs a step or two up 
stage, watching Garson) 

Garson. (slowly) It looks easy. 

Griggs, (eagerly) It is easy. What do you 
say ? 

Garson, (as he crosses in front of Griggs to 
right center and handing Griggs the paper) No, I 
promised Mary 



WITHIN" THE LAW 63 

Griggs, (following Garson to center, a little 
above him, and returning the paper to his pocket. 
Persuasively) But a chance like this — a chance with 
one play to get all you'll ever want. 

Gaeson. (with his back to Griggs) It sounds 
good. 

Griggs. Why this is so big that if it comes off we 
can quit, (pause) All of us. 

Garson. (turning to Griggs) By God, that's 
right. We can quit, (pau^e. With a quick glance 
at door left and turning his back to Griggs) All of 
us. 

Griggs. What do you say? 

Garson". (crossing left to front of table at left 
center, pause) How'll we split it ? 

Griggs, (with relief in his tone) I think three 
ways would be right, one to me, one to you, and one 
to the bunch we'll have to take in. (pause) 

Garson. (as he offers his hand) You're on. 

Griggs, (as he takes Garson^s hand) Fine, 
now I'll get-- 

Garson. (as he drops Griggs' hand) You'll get 
nothing. I'll get my own men. Chicago Eed's in 
town. So is Dacey. They'll do. 

Griggs. Yes. 

Garson. I'll get them to meet you at — Scan- 
lan's at — two tomorrow afternoon, and if it looks 
right, we'll turn the trick tomorrow night. 

(Griggs with a snap of his fingers and a half turn 
away to the right as Garson stops him) 

Garson. Eh! (GmoGS turns back to him) She 
mustn't know. 

Griggs. She'll never know — Joe, I give you my 
word of honor as a gentleman, I'll never tell — 
(Mary enters at door left and comes to the front of 

<5 



64 WITHIN THE LAW 

left center table. At the sound of the door opening, 
Garson stands at center and Griggs taTces stage 
right. In a changed tone) I tell you after all it's 
the only way to do. 

Mary, {at front of left center tahle) What is? 

Griggs, {turning and pretending he didn't know 
Mary was there) I was just saying that when 
there's a leader, the only way is to follow the leader. 

{A look passes between Garson and Griggs as Gar- 
son answers and goes up stage to the foot of couch, 
watching Griggs) 

Garson. Yes. Sure. 

Griggs. And since you're against it, why that's 
all there is to it. 

Mary, {as she picks magazine up from table) 
Well, I am against it. 

Griggs. I'm sorry, but we must all play the game 
as we see it. Well, that was the business I was after, 
and, as it's finished — {starting up stage for his hat) 
so good afternoon. 

Mary. Won't you stay and have tea? . 

Griggs, {at the head of couch) No thanks. 

Mary. Then good afternoon. 

Griggs, {in doorway at up left center) So long, 
Joe. {A look between Garson and Griggs. Griggs 
nods to MarYj and as he puts on his hat slowly exits 
at up left door closing it after him) 

{Pause as Mary and Garson catch each other's eye 
and Gaeson crosses, and, picking up chair that 
Griggs has left up stage replaces it left of left 
center tahle, then speaks) 

Garson. That's a big stake he's playing for, ain't 
it? 



WITHIN THE LAW 65 

Maey. Yes, and a big chance he's taking, too. 
(as she starts to cross right to the front of the trick 
table and looking through the magazine) No, Joe, 
we'll play the game that's safe and sure. 

Gaeson. {coming down center) It's sure enough, 
but is it safe ? 

Maey. {looking at Gaeson) What do you 
mean? 

Gaeson. {crossing to Maey) Suppose the bulls 
got tired of you putting it over on ^em and tried 
some rough work ? 

Maey. {with a laugh, returning to her magazine) 
Don't worry. I know a way to stop it. 

Gaeson. {as he takes revolver from his pocket) 
Yes, and so do I. 

Maey. {in alarm and taking hold of Gaeson's 
right arm) No, Joe, no, none of that — ever. 

Gaeson. Even if I used it, they'd never get on 
to me. 

Maey. {as she removes her hand from his arm) 
What do you mean? 

Gaeson. {with revolver in his right hand hang- 
ing straight down by his side, and with his left 
hand taking "Silencer" from his left coat pocket) 
See this? {hands Maey silencer which she looks at 
and turns over) 

Maey. I've never seen anything like that before. 

Gaeson. {as he takes the silencer and adjusts it 
to the revolver) No I'll bet you didn't. I'm the 
first man in the business to get one and I'll bet on it. 
I'm a scientific guy. That's what they call a "Maxim 
Silencer," With smokeless powder and the silencer 
I can fire a shot from my coat pocket and you'd 
never know it had been done, {drops his gun hand 
down straight by his side) 

Maey. {with a laugh) Impossible. 



66 WITHIN' THE LAW 

Gaeson". No it ain't; here, I'll show you. {turns 
toward hay window and is about to raise his arm to 
fire as Mary grabs his arm) 

Makt. Joe, you'd have the whole place down on 
us. 

Gaeson. (turning to Maey with a laugh and' 
transferring revolver to left hand) No I won't. 
You stand over there, {indicating down left) 

Maey. NO ! NO ! 

Gaeson. Go ahead, it's all right. (Maey 
-crosses left around table at left center tvith Gaeson 
following as far as the front of the table at left cen- 
ter, and talking. As Mary is half way over she 
turns around and gives the gun a final scared looJc. 
As Gaeson follows he again takes revolver in his 
right hand) If you can tell when I fire I'll eat the 
gun. 

Maey, {as she goes up toward bay window up 
left) Nonsense. 

Gaeson. No it ain't nonsense, {turning toward 
vase on trick table and taking aim at vase of flowers) 
You turn your back and you won't hear, {snaps re- 
volver. Vase of floivers breaks. Mary drops maga- 
zine looks at Gaeson and crosses to vase of flowers. 
As Maey crosses, Gaeson follows to center and up to 
Maey) * 

Maey. {after a pause) I wouldn't have believed 
it. 

Gaeson. {as he removes silencer) Neat little 
thing, ain't it? 

Maey. {crossing around right of trick table and 
down stage) Where did you get it? 

Gaeson. {replacing revolver in his pocket and 
crossing down left center) Oh I got it — over in 
Boston last week, {door bell. At the sound of the 
door bell Gaeson turns and faces the door) 



WITHIN THE LAW 67 

Mary. That can't be Agnes back already. 

Fannie, (ojf stage left center) I'll see if Miss 
Turner's at home. 

Burke, {ojf stage left center) That's all right. 
We'll see for ourselves. 

Gaeson. (turning to Mary) That's Burke. 

Mary, (standing in front of chair down right) 
Don't worry: he can't touch us. (Burke opens up 
left center door and just hesitates on door sill as 
Mary sits in chair down right) An Inspector! 

Burke, (as he quicTcly crosses doivn toward 
Mary as far as chair to the left of trich table with- 
out removing his hat. Demarest follows Burke in 
closing the door after him, removes his hat and 
quietly comes down to the iach of the chair right of 
left center table} Oh! here you are. 

Mary. Yes, Inspector. To what do I owe the 
pleasure ? 

Burke. I've come for a few quiet words with you. 

Mary. Then you don't want Joe ? 

Burke, (pause as he turns and loolcs at Garson) 
Not yet. 

Garson. (as he quietly advances a step or two and 
with a sneer) I'm much obliged. 

Mary. Will you excuse us, Joe ? 

Garson. (as he crosses to Burke with menace 
hath in his action and words, Burke looking him 
in the eye and just a slight movement of straighten- 
ing up) But suppose they — ? 

Mary. Please! 

Garson. (quietly) All right. (crossing to 
door up left center then as he turns in doorway) 
But if you want me, just call. (Garson exits up 
left center door. Burke has just turned his head 
and watches Garson out. At the closing of the door 



68 WITHIN THE LAW 

Burke crosses left helow table at left center, then up 
stage as far as the doorway left, and during the fol- 
lowing scene hack down stage again as far as the 
front of the table at left center. At the closing of 
the door by Gaeson, Demarest crosses over to Mary 
as far as the front of the chair left of trick table) 

Mary. (As Demarest comes toward her) Ah, 
Mr. Demarest, it's four years since I saw you last 
and they've made you District Attorney since then. 
Allow me to congratulate you. 

Demarest. (a little puzzled) There is a — 
where have I seen you? 

Mary, (rising) Can't you guess? (crossing to 
Demarest and looking into his face) Try. 

Demarest. (pause) Why you're the girl — why 
you're the Mary Turner that — Oh, I know you now. 

Mary. I'm the girl you mean, Mr. Demarest, but 
you don't know me at all. (turns away from Dem- 
arest with her back to trick table) 

Burke, (interrupting. During Burke's speech 
Demarest quietly turns away and crosses up center) 
Young woman, the Twentieth Century leaves the 
Grand Central at four o'clock. It arrives in 
Chicago at eight fifty-five tomorrow morning, (looks 
at his wutch) You'll just have time to catch that 
train. 

Mary. Working for the Few York Central now? 

Burke, (sternly) I'm working for the good of 
Few York City. 

Mary, (with a laugh) Since when? 

Demarest. (quietly) I think a different tone 
will serve you better. 

Burke. Oh let her talk — she's only got a few 
minutes anyway. 

Mary, (as she indicates a chair right of table at 



WITHIN THE LAW 69 

left center and sits in chmr left of trick table) 
Let's be comfortable then. 

BuEKE. You'd better be packing your trunk. 

Maey. Why ? I'm not going away ! 

BuEKE. {as he crosses to Maey) On the Twen- 
tieth Century this afternoon. ' 

Maey. {ivith a smile) Oh! dear no! (Demae- 
EST quietly drops doivn to the position Bueke has 
just left) 

Bueke. (a little louder than usual) 1 say, yes. 

Maey. I thought you wanted quiet words. 

Bueke. (in his natural tone) Now, look here, 
Mollie — 

Maey. (sharply) Miss Turner, if you please — 
(with a laugh) — for the present anyway. 

Bueke. (sternly) I'm givin' you your orders. 
You'll go to Chicago, or you'll go up the river. 

Maey. If you can convict me — notice that little 
word, if. 

Demaeest. (suavely) I did it once, remember. 

Maey. But you can't do it again. 

Bueke. How do you know he can't? 

Maey. Because if he could, you'd have had me in 
prison some time ago. 

Bueke. (with a look at Demaeest and a cynical 
smile) I've seen 'em go up pretty easy. 

Maey. (seriously) The poor ones, yes — but not 
those who have money, and I have money now. 

Bueke. Money you stole. 

Maey. (in mock seriousness) Oh, dear, no — 

Bueke. What about that thirty thousand you got 
in that partnership swindle? (sarcastically) I sup- 
pose you didn't steal that ? 

Maey. (with a laugh) Certainly not! (seri- 
ously) A man advertised for a partner in a busi- 
ness sure to bring large and safe returns. I answered • 



70 WITHIN THE LAW 

the advertisement. What the business man pro- 
posed was to buy a tract of land- and sub-divide it. 
The deeds to the land were all forged and the sup- 
posed seller was his confederate with whom he was to 
divide my money. We formed a partnership with a 
capital of sixty thousand dollars — he put the money 
in the bank and I promptly drew it out. He wanted 
to get my money illegally, instead of which I man- 
aged to get his legally, for it was legal, {turning to 
Me. Demaeest) Wasn't it, Mr. Demarest? 

Demaeest. Yes, unfortunately ! A partner has 
the right to draw out any or all of the partnership 
funds. 

Maey. And I was his partner. So you see you 
wrong me, Inspector. I'm not a swindler, {ivith a 
laugh) I'm a financier. 

Bueke. (sarcastically) Yes. Well you'll never 
pull another one on me, you can gamble on that. 

Maey. Won't I? Miss Lynch, at the present 
moment, is painlessly extracting ten thousand dollars 
from General Hastings, in a perfectly legal manner. 
Inspector Burke. 

Bueke. (with a sneer) Oh, she is, eh? (sternly) 
Well you may stay within the law but you've got to 
get outside the city, (coaxingly) On the level 
now, did you think you could get away with that 
young Gilder scheme you're planning? 

Maey. (innocently) What young Gilder scheme ? 

Bueke. That's all right — I'm wise — I'm wise. 

Maey. (with a laugh) Yes you are. 

Bueke. (sternly) Once for all, you leave town 
this afternoon or you'll be in the Tombs in the morn- 
ing. 

Maey. (as she rises and crosses to center, Demae- 
est steps hack out of the way) It can't be done, 
Inspector, (turns and looks lack over her shoulder 



WITHIN THE LAW 71 

at Buekb) It can't be done. {then crosses to 
drawer in left side of table at left center and opens 
the drawer) 

Burke, (following Mary as far as the loiver left 
corner. As soon as Burke is in position Demarest 
drops quietly down to Burke's right) Who says it 
can't ? 

Mary, {as she is getting paper from drawer) 
This. 

Burke. And what's — this? 

Mary, {handing Burke legal papers and coming 
down to the lower end of table. While he proceeds 
to open the paper and glances at it) A temporary- 
restraining order from the Supreme Court instruct- 
ing you to let me alone until you have legal proof 
that I have broken the law. 

Burke. Another new one. (folding up paper) 
But you can't do it. 

Mary, (seriously and earnestly) Oh can't I? 
A gambling house can get one and go on breaking 
the law, a race track can get one and laugh at the 
law, a railroad can restrain their employees from 
striking. Why shouldn't I get one too? I have 
money, I can buy all the LAW I want; and there's 
nothing you can't do with the law if you have money. 
(with a laugh) Ask Mr, Demarest, he knows. (Mary 
crosses up to the side of the chair left of table at 
left center with her face up stage) 

Burke, (looking at Demarest) Can you tie that? 
(hands Demarest legal paper which Demarest opens 
and looks at and then folds up. Then .as Burke 
crosses up to hack of chair right of table at left cen- 
ter) A crook appealing to the law. 

Mary. And getting justice — that's the remark- 
able part of it! (turning so that she faces both 
Burke and Demarest and with a challenge in her 



72 WITHIN THE LAW 

voice) Well, gentlemen, what are you going to do 
about it? 

.Burke, (sternly) This is what I'm going to do, 
one way or the other, I'm going to get you. 

Demarest. (crossing to table and laying paper on 
it then stepping hack. Gently and persuasively) 
I'm going to appeal to your sense of fair play. 

Mary, (as she turns away) That was killed 
four years ago. 

Demarest. Let young Gilder alone. 

Mary, (turning to Demarest, strong) His 
father sent me away for three years, and he's got to 
pay me. 

Burke, (quietly) Don't fool yourself, my girl, 
you can't go through with it. There's always a weak 
link in the chain somewhere and I'm going to find it. 

Mary, (turning and looking at Burke. Seri- 
ously) Now you sound really dangerous. (Garson 
enters up left door, closing it after him and speaks 
as he is crossing down to Burke's left just above 
Mary) 

Garson. Mary, I want to see you a minute. 

Mary, (to Burke) Excuse me, please. 

Burke, (to Mary) Nothing doin'. (to Garson) 
What is it? 

Garson. Something private. 

Burke. Private things don't go. (sternly) Out 
with it. 

Mary. Tell then, Joe. There's nothing we need 
be afraid of. 

Garson. Old man Gilder's here. 

Burke, (as he crosses hack of Demarest to down 
right in front of trick table. Surprised) Gilder! 

Demarest. (surprised) Here? 

Garson. That's what I said. 

Mary, (as she shows pleasure) Have Mr. Gilder 



WITHIN" THE LAW 73 

come in, Joe. (Gaeson crosses to door up left center, 
holds it open and nods to Mr. Gilder. Mary taking 
stage down left) It seems I am having quite a num- 
ber of distinguished callers today. 

Demaeest. (to Burke) He shouldn't have come. 
(starting to door up left center and gets as far as 
the head of the couch) Burke and I will attend 
to this Mr. Gilder. (Mr, Gilder enters and drops 
his hat on the table in the hall, passes Demaeest 
and comes down before table at left center and to the 
right of it facing Maey who has her bach half to 
him. Demaeest comes down to upper end of table 
at left center as soon as Me. Gildee pass him) 

GiLDEE. (in a hard mechanical tone) So you are 
the woman. 

Maey. I am the woman. What do you want ? 

Gildee. My son. 

Mary. Have you seen him lately ? 

Gilder. No. 

Mary. Then why do you come ? 

Gilder. Because I intend to save my boy from a 
great folly. I am informed that he is infatuated 
with you and Inspector Burke tells me — tells me — 

BuEKE. (starting a step or two forward) 1 tell 
you she's an ex-convict. 

Gildee. Is this true ? 

Maey. (positively) It is. 

BuEKE. You'd better leave her to me. (crosses 
toward Maey but just as he reaches Me. Gilder on 
his last word Mr. Gilder checks him with a slight 
movement of his arm without taking his eyes off 
Mary) Now see here, you — ! 

Gilder, (stopping him) If you please, inspector — 
Of course you don't really care for my son — (Burke 
turns in disgust and crosses right to his former post- 



74 WITHIN THE LAW 

tion) so how much will you take to go away — how 
much? 

Mary. I don't want money. Inspector Burke can 
tell you how easy- it is for me to get it. 

Demaeest. If you'll permit me^ Mr. Gilder — 

Gilder, (calmly and without taking hi$ eyes off 
Mary) I think this matter can be settled between 
this woman and me. (Demarest crosses right to 
hack of chair left of trick tahle~as Gilder continues) 
Do you want my son to learn what you are? 

Mary. Why not? I'll tell him myself. 

Gilder. I don't want him to know. I've spared 
the boy all his life. If he really loves you — 

Dick, {speaking outside and entering up left 
center door during the line, closes door after him and 
puts his hat on the couch. At the sound of Dick's 
voice Mr. Gilder takes a step or two back and half 
turns toward door) I didn't see father but I left 
him— (turns and sees his father and comes down 
stage and as he passes chair right of table at left cen- 
ter draws it ivith him by the back until he stands fac- 
ing his father with his back leaning against the chair. 
This business is done as he is speaking his next line) 
Hello, dad, you got my note ? 

Gilder. No, I've had no note. 

Dick. Then why — ? (Dick looks over his father's 
shoulder and sees Burke and Demarest) what are 
they doing here ? 

Mary. Never mind them. Tell your father your 
news. 

Dick, (as he crosses down to Mary and puts his 
hands on her shoulders and looks over her shoulders 
into her face) Dad, we're married. Mary and I 
were married this morning. 

Gilder. What ! 



WITHIN THE LAW 75 

Maky. (in exultation) I married your son this 
morning. Do you understand, Mr, Gilder, I married 
him. 

BuKKE. {tempestuously) It's a frame up ! Tell 
your father it ain't true. Why, do you know what 
she is? She's done time and by God she'll do it 
again. 

Dick, {turning to them) That's a lie. {to 
Mary) Mary, say it's a lie. 

Mary, {as she turns to Dick and takes a step 
hack) It's the truth. 

Burke. What did I tell you? 

Dick. You have — 

Mary, {looking squarely at Dick) I have served 
three years. 

Gilder, {to Dick) I wanted to save you from 
this. 

Dick, {facing front) But there's a mistake. 

Demarest. There isn't. 

Dick. I say there is. {pleading) Mary, say 
there's a mistake — say there's a mistake. 

Mary. It's all quite true, {pause a$ Dick stag- 
gers hack, with his hand oPer his eyes, against left 
side of table at left center and sinks into a sitting 
position with bowed head on the table) 

Gilder. Do you see what you've done to my boy ? 

Mary, {controlling her emotion and starting to- 
ward Gilder) And what is that compared to what 
you have done to me ? 

Gilder. What I have done to you ? 

Mary, {up to Gilder; Gilder Irealcs ground 
a step or two during the speech) Yes, do you re- 
member what I said to you the day you had me sent 
away? 

Gilder, {as he starts to cross in front of her to 
Dick) I don't remember you at all. 



'^e WITHIN THE LAW 

Mary, (stepping in front of him and hlocTcing 
Mm) Don't you remember Mary Turner, who was 
arrested four years ago for robbing your store? 
(Gilder shows he begins to remember and breaks 
ground a step or two and a little up stage) who 
swore she was innocent, and who would have got off 
if you hadn't asked the judge to make an example of 
her? 

Gilder. You are that girl? 

Mary. I am that girl. (Dick starts to take notice 
of what is being said and slowly rises and turns and 
drops to lower side of table at left center) You 
helped smash my life, you put me behind the bars, 
you owe me for all that and I have just begun to 
collect. 

Gilder. And that is why you married my boy? 

Mary. It is. 

Dick. It's not. « 

Burke, {as he takes a step toward Mary) Now 
see here — 

Dick. You keep out of this. (Burke turns and 
takes his former position) 

Demarest. But Dick — 

Dick. And you. (as he puts his hands on Mary's 
shoulders. She is standing facing GiJjBEu) This is 
my affair, (to Mary as he turns her slightly down 
stage speaking over her shoulder. Mary keeps her 
eyes on Gilder) You married me because you 
loved me. 

Mary. I didn't. 

Dick. And you love me now. 

Mary. No ! NO ! 

Dick. You love me now. 

Mary. I don't. 

Dick. Look me in the face and say that. (Dick 



WITHIN THE LAW 77 

turns Mary so that she~faces him and holding both 
her arms) Look me in tlie face and say that. 

Mary. I don't love you. 

Dick, (as his hands slip down to both her wrists 
and he tries to draw her to him) Just the same 
you're my wife and I'm going to make you love me. 

Mary. You can't. You're his son. 

Dick. I'm going to make you love me. I don't 
care what you've done. 

Burke. She's a crook ! 

Dick, (to Burke) I don't give a damn what she's 
been, (to Mary) Do you hear, I don't care what 
you've been ? From now on you'll go straight. You'll 
walk the straightest line a woman ever walked. (Mary 
who has had her head turned aivay from him during 
this speech now starts to draw Dick up stage until 
they reach the chair that Dick placed on his entrance^ 
then Dick puts his right hnee on the chair and as 
Mary continues to draw away she gets around the 
chair and alcove Dick and on the last few words of 
his speech he draws her around in front of him again 
and on his last word forces her hands to the bach of 
the chair, thus forcing her to look at him) You'll 
put all thoughts of revenge out of your heart — (Dick 
knees on chair) because I'm going to make (Dick 
draws Mary around to face him) you love me. {a 
pau^e as Mary gives Dick one look of wonder when 
Burke breaks in sharply) 

Burke. She's no good, I tell you, she's a crook. 

Mary. (Mary turning quickly to face Burke and 
forcing her wrists away from Dick. Dick off chair 
and back against table at left cent9r) And if I am, 
who made me one? You can't send a decent girl to 
prison and have her come out anything else. 



78 WITHIN THE LAW 

Burke, (sarcastically) She didn't even get her 
time off for good behavior. 

Maey. And I'm proud of it. (to Gilder) Do 
you know what goes on behind those stone walls? 
(to Demarest as she takes a couple of steps up 
stage) Do you, Mr, District Attorney, whose busi- 
ness it is to send girls there? Do you know what a 
girl is expected to do so that she can get time off for 
good behavior ? If you don't, (starts down stage and 
with horror in her voice) ask the keepers. 

Gilder. And you ? 

Mart, (as she turns to face Gilder and with her 
hack to the chair Dick placed on his entrance) I 
served every minute of my time: three full, whole 
years. Do you wonder I want to get even — that 
someone has got to pay? (a step to Gilder) Four 
years ago you took away my name and gave me a 
number. Now I've given up — (ring curtain down) 
that number and I've got your name. 

CURTAIN 



ACT III 

SCENE I 

Time : — The next night at half-past ten. 

Scene: — Library in Edwakd Gildee's house. At 
right is a practical hay window with tapestry 
portieres. Across the hack at center is a fire- 
place. Bight of the fire-place is a door leading 
into another room. Left of the fireplace is a 
bookcase. The walls over the door up right, 
fireplace, and both bookcases are covered with 
tapestry. At the left second entrance is a door 
which leads into the hall. Below this door is 
another bookcase. To the left of the fireplace 
and between it and the bookcase is a chair and 
another chair is in front of the fireplace. Down 
right is a library table with a practical lamp on 
the right middle side and a 'phone on the right 
upper end. On the surbase just below the hay 
window is the practical bell box of the 'phone. 
Down left is a couch set diagonally. Back of 
the couch is a small square table with a practical 
lamp, box of cigarettes and box of matches on it. 
On the wall left between the door and the book- 
case is a push-button switch which is supposed 
to control chandelier, hut does not. 

Lights : — Foots up, amber, no borders. Both table 
lamps lit, with amber shades and globes. Chan- 
deliers not on in Scene i hut on and off with 
foots on cues in Scene it. Chandelier has amber 
shades and amber globes. Moonlight in bay 
79 



80 WITHIN THE LAW 

window to he flashed on and off on cue, once in 
Scene i and once in Scene ii. 

At Eise: — Me. Gildee, wearing dinner clothes, is 
discovered seated at the table at right center 
reading a hook. After a short pause, the door 
at left opens and Dick enters, closing the 
door after him and coming to hade of couch 
above table. He is in dinner clothes. As he 
enters Me. Gilder looTcs up, then goes on with 
his reading, 

Dick, (as Dick speaJcs he comes around to the 
front of couch) I'm awfully sorry I'm so late, Dad. 

GiLDEE. (without raising his eyes) Where have 
you been? With that woman again? 

Dick, (coming around upper end of couch to 
front of it) She won't see me. 

GiLDEE. Naturally. She's got all she wants from 
you: my name! 

Dick, (to lower end of couch and sits) It's 
mine, too, you know, sir. 

GiLDEE. (turning to Dick) Dick, you're all I 
have, my boy. You'll have to free yourself from this 
woman somehow. You owe me that much. 

Dick. Dear old dad, I owe you everything in the 
world, but I owe something to her, too — 

GiLDEE. What can you owe her? She tricked 
you into this marriage — it's not even that, she's sim- 
ply fooled you into a wedding ceremony. Now it's 
for us to get you out of this scrape — 

Dick. I'm not certain that I want to get out of it. 

Gilder. You want to stay married to this jail- 
bird? 



WITHIN THE LAW 81 

Dick, {rising sharply) I'm very fond of her, 
dad. 

Gilder. Now that you know? 

Dick. Now that I know, (as Dick crosses to 
Gilder at the table) Don't you see she's justified 
in a way, in her own mind, I mean ? She was inno- 
cent when she was sent to prison. She feels that 
society owes her something — 

Gilder. Don't talk nonsense. I suppose you'll 
argue next that because she's clever enough to keep 
within the law since she got out of State's Prison 
that she's not a criminal. (Dick crosses to center) 
A crime's a crime whether the law touches it or not. 
There's only one course open to you, my boy: you 
must give this girl up. 

Dick, (crossing to left center) I've told you, 
dad, that I can't. 

Gilder, (rising and crossing to Dick) You 
must, I tell you. (pause then softly) If you don't 
what are you going to do the day your wife is thrown 
into a patrol wagon and carried down to police- 
headquarters? (Dick turns to Gilder as if about to 
speak) for it's sure to happen. The cleverest people 
make mistakes and some day she'll make one ! 

Dick. But she isn't going to - — 

Gilder. (Dick turns away) They'll stand her in a 
line and the detectives will walk past her with masks 
on their faces; her picture is already in the Eogues' 
Gallery, but they'll take another— yes, and the im- 
prints of her fingers, and the measurements of her 
body. 

Dick, (turning quickly to Gilder) Father! 

Gilder. That's what they'll do to your wife, the 
woman who bears your name and mine ; now what are 
you going to do about it ? 



82 WITHIN" THE LAW 

Dick. It will never happen. She'll go straight. 
You don't know her as I do. (sits on lower end of 
couch) 

GiLDEK. (crossing to DicJc) Be sensible, my 
boy, be sensible. 

Dick. Why Dad, she's young — she's just like a 
child in a hundred ways. She loves everything that's 
simple and real ! And as for her heart, dad — I've 
seen her pick up a baby that had fallen in the street 
and mother it in a way that — well no one could do 
it as she did unless her soul was clean. 

Gilder. After what you heard her say yesterday, 
you still think that ? 

Dick. I don't think — I know. 

GiLDEE. Do you realize what you are doing? 
Don't go to smash just at the beginning of your life. 
Put this woman out of your thoughts and start 
afresh. 

Dick. I can't. 

Gilder, (putting Ms left hand on Dick's right 
shoulder) You're all I have, my boy. 

Dick, (rising) Dad, I know, I'm sorry — if I 
could avoid it, I wouldn't hurt you for anything in 
the world — ^but I've got to fight this out in my own 
way. (crossing in front of Gilder and above the 
table at right to bay window) And I'm going to. 
(Mr. Gilder starts toward Dick. Thomas enters 
'rigid door and Mr. Gilder stops as Thomas stands 
with card tray and card just inside the door, which he 
closes after him) 

Gilder, (at center) Well, Thomas? 

Thomas. A man to see you, sir. 

Gilder. I can't see anyone tonight. (starts to 
cross to Dick at first word of Thomas) 



WITHIN THE LAW 83 

Thomas, (as he crosses down to Gildep's left) 
He says it's very important, sir. {offers Gilder a 
card on a tray) 

Gilder, {takes card and reads) Inspector 
Burke. {to Thomas) Show him in. (Thomas 
crosses to door left and exits leaving door open) 

Dick. Burke ! {starts toward door up right) 

Gilder. Better wait a minute. You m,ay as well 
get used to visits from the police. (Dick comes 
down to right upper corner of table at right. Enter 
Thomas, stands ahope door facing down stage. 
Burke follows Thomas in and crosses to table at 
bach of couch and puts his hat on it, then goes around 
upper end of couch to Gilder. Thomas exits left 
closing door after him) 

Gilder, {at Burke's entrance) Good evening 
Inspector — you wish to see me? 

Burke. Yes. {Dick starts for door up right) I 
want to see you, too, young man. (Dick stops and 
turning comes down to right side of table at right 
center) 

Gilder. Well, Burke? 

Burke. Well, she's skipped. 

Dick. I don't believe it. 

Burke, {to Gilder) She left this afternoon for 
Chicago. I told you she'd go. Now all we have to 
do is to get this boy out of this scrape and we're all 
right. 

Gilder. If we only could. 

Burke. Oh, I guess we can find some way to have 
the marriage annulled — (Dick gives Burke a look of 
anger) or whatever they do to marriages that don't 
take. 

Dick, (angrily) Don't you interfere in this. 

Burke. Interfere? {as he crosses to the left of 
table at right center) Huh ! That's what I'm paid 



84 WITHIN THE LAW 

to do. (quietly, with meaning) Listen to me, son: 
the minute you begin mixing up with crooks you 
ain't in a position to give orders to anyone. A 
crook's got no rights in the eyes of the police. Just 
remember that. 

Dick, (all anger gone) So she's going to 
Chicago. 

Burke. Yes. 

Dick. Where's she going in Chicago? 

Burke. I'm no mind reader, but she's a swell 
little girl; I've got to hand it to her for that any- 
way — she'll probably stop at the Blackstone — that is 
until the Chicago police are tipped off that she's in 
town. 

Dick. Burke, give me a chance — I'll leave for 
Chicago in the morning. Give me twenty-four hours 
start before you begin hounding her. 

Burke. That sounds reasonable. 

Gilder, (as he quietly comes down to Burke's 
left) You shan't go, Dick. You shan't go. 

Burke, (to Gilder) Why not? It's a fair 
gamble and I like the boy's nerve. 

Dick, (to Burke) And you'll agree? 

Burke. Yes. 

Dick. (as he starts for door up right) Thank 
you. 

Gilder, (turning toward Dick) You shan't go. 

Burke, (aside to Gilder as he crosses to down 
right corner of table at right and then turns to face 
Gilder) Keep still, it's all right. 

Dick, (turns at door up right and then crosses 
down to lower left corner of table at right and faces 
Burke) You give me your word that you won't 
notify the police in Chicago until I've been there 
twenty-four hours ? 



WITHIN THE LAW 85 

BuEKE. You're on. They won't get a whisper 
out of me until the time's up. 

Dick, (as he starts to door up right) Thank 
you 

GiLDEE. But Dick — (Dick is just on a level 
with his father and turns to him with his hacJc to the 
audience) I'm sorry Dad, but I've got to do what I 
think is the right thing, (up to door up right and 
exit closing door after him) 

BuEKE. (as he starts across stage left to the lower 
end of couch) Sure you have. (Dick exits) 
That's the best any of us can do. (pause as Gildee 
goes to armchair bach of table at right and sits. 
BuEKE turns at lower end of couch and looks at him) 

BuEKE. (as he crosses up center) He'll go to 
Chicago in the morning? 

GiLDEE. Certainly. 

BuEKE. Best thing that could happen, (pause) 
He won't find her there. 

Gildee. (in surprise) What makes you think 
that? 

Bueke. (with a chucTcle) Because she didn't go 
there. 

Gildee. Where did she go then? 

Bueke. Nowhere — yet. But just about the time 
he's starting for the west, I'll have her down to Police 
Headquarters, Demarest will have her indicted be- 
fore noon, she'll get on trial in the afternoon, and 
tomorrow night she'll be sleeping up the river. That's 
where she's going. 

Gildee. (rising) But how can you do that? 

Bueke. (as he crosses to Gildee) Maybe I 
can't — but I will. Think I'm going to let this girl 
make a joke of the Police Department? Listen-^- 
this is where I'll get her — her gang is going to break 
into your house tonight. 



86 WITHIN THE LAW 

Gilder. She's — (stepping toward window at 
right) coming here, {looking out window, then lack 
to right side of table facing Burke) A thief ? 

Burke. Not if I know her she won't. She's too 
clever for that. Why if she even knew what Garson 
was up to tonight, there isn't anything in the worki 
she wouldn't do to stop him. — (pause as Burke 
shows that he has thought of something) By God, 
I've got her. (as he drops quickly into chair hack 
of table right and pulls the 'phone toward him) Can 
I use your 'phone? 

Gilder. Certainly. 

Burke, (into 'phone) Give me thirty-one hun- 
dred Spring, (to Gilder) Maybe it isn't too late. 
I must have been out of my head not to have thought 
of it before. (into 'phone) Headquarters? In- 
spector Burke speaking. Who's in my office? (short 
pause) I want him quick. (to Gilder) Smith's 
the best man I've got. We're in some luck anyhow. 
(into 'phone) Oh Ed, send someone up to the 
Turn6r woman's flat — tip her off that Joe Garson, 
Chicago Eed and Tom Dacey are going to break into 
Edward Gilder's house tonight. Get some stool to 
hand her the information, and you've got to work 
quick. Hold on — (pause as Burke looks at his 
watch) It's ten thirty now. She went to the 
Eltinge Theatre with some woman. Try to get her 
as she's leaving there, you'll have to hustle. If you 
miss her at the theatre, have the man go to the house 
for her. That's all. (hangs up receiver) 

Gilder. What good will all that do? 

Burke. She'll come here to stop them and we'll 
grab her when we get the rest of the gang, (as he 
slaps the table and rises and crosses to center) God, 
I'll be glad to get Garson. (turning to Gilder) 
Mr. Gilder, I've tried for twenty years to land that 



/ WITHIN" THE LAW 87 

crook; but he managed to slip throiigli my fingers 
every time. Just ring for your man, will you please, 
Mr. Gilder? (Gilder presses call button under 
table edge and flashliglit from Metropolitan tower 
floods the room luith a white light for a feio minutes. 
Burke with some surprise) What's that? 

Gilder. That's the flashlight from the Metro- 
politan Tower. (Burke turns and crosses up center 
facing door left. Mr. Gilder goes to the portieres, 
and during the remainder of the speech draios them 
over the bay windoiv) The servants forgot to draw 
the curtains. It won't bother us again. (Thomas 
enters door left closing the door after him. Me. 
Gilder turns, facing Thomas and Bueke^ and stand- 
ing at the 'portieres) 

Burke. My man, I want you to go up on the roof 
and open the scuttle. You'll find three men up 
there. Bring them down here, {a frightened start 
from Thomas) Oh, they won't hurt you. They're 
police officers. Then, you go to bed and stay there 
till morning, understand? (Thomas loolcs at 
Gilder) 

Gilder. Do as the Inspector tells you, Thomas. 

Thomas. {as he starts across the stage right) 
Very good sir. (Burke ivatches Thomas as he crosses 
and exits at right upper door, closing door after him) 

Gilder, {as Burke comes down center and he 
crosses to Burke at center) How do you know they 
are going to break into this house, or do you only 
think they are ? 

BuEKE. I know they are. I fixed it. 

Gilder. You did? 

Burke. Sure ! Through a stool pigeon. 

Gilder. Oh, an informer. 

Burke. Sure. The stool-pigeon in this trick is 
a swell English crook named Griggs who went to 



88 WITHIN THE LAW 

Garson yesterday morning with a scheme to rob your 
house. Garscn fell for it and Griggs got word to me 
at once that it was coming off tonight — and that's 
how I know. 

Gilder. But why have your men come down over 
the roof? 

Burke. It wasn't safe to bring them in the front 
way. It's a cinch this house is being watched. Just 
let me have your latch-key. (Gilder hesitates) Oh 
come on. 

Gilder. (as he starts to take ring of Jceys from 
pocket) What for? 

Burke. I want to come back and make this col- 
lar myself. 

Gilder, (as he hands Burke the hey) Why not 
stay now that you're here? 

Burke. Suppose some one saw me coming in? 
There'd be nothing doing until they saw me go out. 

Gilder. I see. (Burke tahes the stage doivn 
right. Gilder goes up center; door up right opens 
and Thomas enters and stands to the right of the door 
facing Gilder. Cassidy enters after Thomas, fol- 
Joived by TiioMPSOisr and Williams ivhoin Cassidy 
motions to each side of the door up right and then 
Cassidy comes to left end of table at right) Go to 
bed. (Thomas exits door up right and closes it 
after him) 

Burke. Where can these men stay until they're 
needed ? 

Gilder. There's an empty room on the next floor 
that — 

Burke, (interrupting him) Won't do. (crosses 
up to door up right opens it and steps into next 
room and looks off left) What's that door leading 
from this room here ? 



WITHIN" THE LAW 89 

Gilder. (taJcing a step down stage so that he can 
see Burke) That leads to the third floor -— 

Burke, No I don't mean that one. The one on 
the other side of the room. 

Gilder. Oh that ? That opens into a hall which 
leads to a store-room. 

Burke, (as he enters to lower end of couch) Take 
a look at that room, Cassidy. (Cassidy exits 
through door up right and disappears off left. To 
Gilder) These men came through number twenty- 
six on the other street, then round the block on the 
roof. 

Gilder. I see. To avoid suspicion. (Gilder 
crosses up stage just above upper end of couch) 

Burke. Sure. You can't be too careful in a 
case like this. (Cassidy enters at door up right and 
comes down left end of table at tight. As Cassidy 
enters) Well, Cassidy? 

Cassidy. It'll do. Now if the light is out in that 
room, we can leave the door of the room where we 
are, open. Will that be all right. Inspector ? 

Burke. How about it, Mr. Gilder? Anyone 
likely to be using that room? 

Gilder. No one. 

Burke. That'll do then, (up to Gilder) Now, 
I'm going to give you the same tip I gave your man. 
Go to bed and stay there. 

Gilder. I'm doing this because there seems to be 
no other way; but I don't like it. 

Burke. Believe me, it's the easiest and quickest 
for us all. (coming down center) Cassidy! 

Cassidy. (stepping forward to meet Burke) Yes, 
sir? 

Burke. You're in charge here and I hold you 
responsible. 

Cassidy. Yes, chief. 



90 WITHIN" THE LAW 

BtTEKE. Now listen to this and get it ! I'm com- 
ing back to get this bunch myself and I'll call you 
when I want you. You'll wait in that store room out 
there and not make a move until you hear from me, 
unless by any chance things go wrong and you get a 
call from Griggs — you know who he is ? 

Cassidy. Yes, sir. 

Burke. He's got a whistle and he'll use it if 
necessary. Got that straight ? 

Cassidy. Yes, sir. 

BuEKE. On your way then. (Cassidy starts 
toward door up right) Just a minute. (Cassidy 
stops and comes down to Bueke) The minute you 
get in the room, jump for that window, {indicating 
window right) Understand? 

Cassidy. Yes, sir. 

Burke. That's all. (Cassidy goes up toivard 
door right, motions Thompson" and Williams of 
and follows them, closing door after him. As Bueke 
crosses up above couch to table, gets his hat and 
turns to Gilder) Now then, Mr. Gilder, I'll have to 
ask a little help from you to delay things a little to 
give that Turner girl time to get here. Keep your 
lights burning until about half past eleven. They 
won't try anything as long as a light can be seen. 
Then go to bed and stay there. (Gilder sighs) 
Don't worry about the boy. We'll get him out all right. 

Gilder. I hope so. 

Burke. Nothing to it. Good night. (Burke 
exits left door closing it after him. Gilder pauses a 
moment, holes around then crosses to portieres and 
parts them and looks out) 

(EING CUETAIN DOWN) 

(As the curtain touches the stage all lights out except 
the moonlight. Chimes as a distant town-cloch 
starts striking twelve o'clock) 



ACT III 

SCENE II 

Time. — Same night — Twelve o'clock. 
Scene — The same. 

Lights. — Everything out hut the moonlight. In 
this scene every time the chandeliers go up and 
down the amher foots work with them. 

At Eise: — On the eleventh stroke of the chime the 
curtain rises on a dark stage. On the twelfth 
stroke, the portieres part and Garson steps into 
the room and closes them. All his move- 
ments are made luithout a sound hut are not 
stealthy. On the contrary he works in an ex- 
tremely husiness-like manner. He takes care 
however, to walk on the halls of his feet with a 
peculiar catlike tread. He then lights a pocket 
flash and flashes it around the room. He crosses 
to door at up right center and listens, then 
crosses to door left and quietly opens it and 
listens, then quietly closes it and flashes his 
lamp on the switch on the wall ju^t helow the 
door left. Then he crosses to the tahle down 
, right, flashes his lamp up through the shade, 
then lights the tahle lamp. As soon as the tahle 
lamp is lit, he puts out his flash lamp, puts it in 
his pocket and looks around the room. He then 
crosses up, takes the chair from in front of fire- 
place and places it against the up right center 
91 



92 WITHIN THE LAW 

door in such a way that anyone entering would 
stumble over it. Then, coming doivn to the bach 
of the table at right center he takes up the 'phone 
in both hands and calls 999 Bryant. As he is 
waiting he again looks around the room as if 
watching the door, and then, setting down the 
'phone with the receiver at his ear picks up a 
penholder and turns to the 'phone as if he had 
an answer from his^number. Then he taps out a 
message in Morse code on the mouthpiece with 
the penholder. A reply is heard in the Morse 
code and then he hangs up receiver. Looking 
around he finds the bell-box of the 'phone on the 
surbase beloiu the bay window. He kneels down 
facing front and imscrews one bell and lays it on 
the floor then removes the other one. Then 
picking up both bells he rises and sets them on 
the table under the lamp. Then as he stands at 
the right end of the table, he takes out liis re- 
volver and "silencer." He is watching the doors 
all the time. Then putting the revolver in his 
right side trouser pocket he takes out his pocket 
flash from his inside coat pocket, turns out the 
table lamp, and, with his flash lamp shoiving 
ahead of him, crosses to door left and exits, leav- 
ing the door open. The stage remains dark for a 
few moments then the light from the pocket 
flash is seen on the ceiling and gradually comes 
down until it is shining directly across the stage 
on the door up right center. Then enter at door 
left, Dacet^ who crosses to the right upper cor- 
ner of the table at right center. Dacey is fol- 
lowed by Griggs who crosses around the upper 
end of the couch then down center and stands 
facing up stage. Griggs is foUoived by Chicago 
Red who crosses over to upper end of bay win- 



WITHIN THE LAW 93 

dow. Each of the men passes in front of the light 
of the flash lamp as they enter. Gaeson then 
enters, putting out his flash lamp and closing the 
door quietly. Then he turns to stvitch on the 
wall helow the door. All talking from here until 
^ Maey orders to turn up lights is carried on 
in monotone) 

Gaeson. All right so far. Wait till I turn up 
the lights, {presses switch for chandelier lights. As 
chandelier lights, Dacey and Chicago Eed turn to 
portieres. Geiggs starts up toward portieres and 
Gaeson, as he speahs, crosses down helow couch and 
over to portieres and is ju^t at up right center as the 
telephone buzzes) Is that what we want? 

Geiggs. Yes. 

Gaeson. We got to hurry and — (phone buzzes. 
Gaeson jumps quickly and picks up the 'phone and 
removes the receiver. The 'phone then stops buzzing. 
Geiggs comes quickly down to Gaeson's left shoulder. 
Chicago Eed tur7is and leans over up right corner 
of table and Dacey over back of Gaeson's chair) 
We got to take a chance, (then puts the receiver to 
his ear and a telegraph message is heard coming over 
the 'phone and after it stops Gaeson speaks) That's 
Mary's call. 

Geiggs, Eed and Dacey. Mary's? (telegraph 
message starts again) 

Gaeson. Yes, she's on. (he holds receiver a few 
inches away from his ear and as the message comes 
over the 'phone he translates) Am — at — corner- 
drug — store ! Have — some — one — open — door — for 
— me — immediately, (during the translation Geiggs 
draws aivay up center watching Gaeson) 

Geiggs. She's coming over ? 



94 WITHIN THE LAW 

Gaeson. I'll stop her. (sets down 'phone and 
'picks up penholder) 

Eed. Eight! stop her. 

Gaeson. (Gaeson taps out a message on the 
mouthpiece — pause hut gets no answer) She don't 
answer! (tries again, gets no ansiver and then as 
he quickly hangs up receiver) She's gone. 

Geiggs. Probably on her way. 

Gaeson, (at the upper left corner of the table) 
What's she coming here for? This is no place for 
her! If anything should go wrong noAv — 

Geiggs. Nothing can. (as he quickly crosses to 
door left) I'll let her in. 

Gaeson. (as he advances to center and sharply to 
Geiggs) Griggs! (Geiggs stops at door left and 
turns to Gaeson) Got a lamp ? 

Geiggs. Sure, (exits at door left leaving it open) 

Gaeson. (after a look at Geiggs then coming 
down left corner of table at right) If anything 
should go wrong now ! Oh ! Why did she have to 
come? (Maey enters hurriedly at left door and 
crosses above couch and down to Gaeson. As Maey 
enters) What do you want here? (Geiggs enters, 
removes his hat quietly, closes door, and drops down 
to table back of couch) 

Mart. You lied to me. (amber light back of 
door up right, on) 

Gaeson. That can be settled later. 

Maey, (turning up stage) You're fools, all of 
you. This is burglary. How can I protect you if 
you're caught? Come, we must get away at once. 
(turning to Gaeson) Joe, make them go. 

Gaeson. We're here now and we can't leave. 

Maey. Joe, for my sake. 

Gaeson. I can't leave till we've got what we're 
after. 



WITHIN THE LAW 95 

Mary. But there are reasons — I can't have you 
rob this house! {turning up stage) Boys, let's get 
away — please — -please, {to Gaeson) Joe, for God's 
sake. 

Gaeson. {as he crosses left in front of Maey and 
to the middle of the front of the couch and facing up 
stage) I'm going to see this thing through. 

Maey. Joe ! 

Gaeson. It's settled. 

Maey. Then — (Maey starts to go toward door 
left) 

Gaeson. {as he takes a step up stage) You can't 
go. 

Maey. Why ? 

Gaeson. You might be caught. 

Mary. And if I were — do you think I'd tell? 

Gaeson. Of course not. You'd go for a lifer first. 

Maey. Eather than — 

Gaeson. Just the same we can't take any chances. 
We'll all get away in a minute and you'll come with 
us. Tom, get to that light switch. (Dacey crosses 
to switch left, and places his left hand on it as Gae- 
son continues) If you hear me snap my fingers turn 
'em off. Understand ? 

Maey. Joe, don't do this. 

Gaeson. You can't stop it now, and you're only 
making it dangerous for us all. {to Eed) Eed, you 
get to that door. (Eed, who is at right goes quickly 
up, takes chair away from door up right puis it at 
the right side of the fireplace and returns to the door 
as Gaeson continues) If anyone comes in, get him 
and get him quick — don't give a chance to cry out. 

Eed. {as he holds up his right hand) Not a 
chance with dis to cover his mug. (Eed turns then 
with his ear to the jamh of the door, listening) 

7 



96 WITHIN THE LAW 

Garson. (with his face still up stage. To 
Griggs) Now let's get to work. (Griggs quickly 
goes up, puts his hat on the chair left of the fire- 
place, returns and stands at the up stage side of the 
table bach of the couch) 

Mart. Listen to me, Joe: if you do this, I'm 
through with you — I quit. 

Garson. If this goes through we'll all quit. 
That's why I'm doing it. (to the others) Come 
boys, push that table, (indicating table bach of the 
couch) Against the wall so I can stand on it — 
(Griggs bends down as if to picTc up table, Garson 
starts up stage and over toward portieres. Mary 
tries to stop Garson as he passes her, then crosses 
around lower end of couch as if to hold table) 

Mary. No Joe! NO! NO! NO! 

Eed. (makes a hissing sound and everybody stops 
just where he is. Garson is up center, facing Red. 
Mary is at the lower end of the table back of couch. 
Dacey is at the light switch left. Griggs is above 
the table back of the couch in the act of lifting 
it and Red has his ear at the door up right. There 
is a short pause and Red again gives the warning 
hiss) I hear something, (pause) It's comin' this 
way! 

Garson. (as he snaps his fingers) Lights! (the 
ligfits go out and in the pause of darkness before Dick 
enters at up right door, Garson first crosses back of 
couch to left side of table just above Mary ivith his 
pocket flash ready. Griggs theti crosses up center, 
Dacey follows Griggs and stands at his left and Chi- 
cago Red steps well back into the corner between the 
door up right and the bay window. Dick opens up 
right door, stands for a moment in the light and 
then steps into the room drawing the door closed 
after him. Just before the door closes Red's right 



WITHIN THE LAW 97 

hand grabs Dick's wrist and forces Dick's hand over 
his own mouth. The door then closes and in the 
darkness Eed grabs Dick's other wrist and they 
struggle down to the lower end of the front of the 
couch; Dick is then forced down on his knee. As 
Dick goes to his knee Eed speaks) 

Eed. I've got him. (Gaeson flashes pocket flash 
on Dick's face. As Dick's face is seen Mart speaks) 

Maey. It's Dick. 

Gaeson". (as he takes flash off Dick's face and re- 
turns it to his pocket and crosses up around the upper 
end of the couch and to the front of it) Get away 
Eed. (Eed lets go of Dick and goes up stage quickly 
between Geiggs and Dacey. As soon as Dick is re- 
leased he rises and kneeling on couch leans over and 
lights the lamp on the table back of the couch. As 
he lights the lamp both baby spots come on, trained 
on Dick's and Maey's face. Dick is kneeling on 
the couch and Maey is back of it and then they are 
face to face. Maey's hand is on the back of the 
couch) 

Dick, (as he places his hand over Maey's) Good 
God! You. 

Mary, (warningly) Hush! You don't under- 
stand. 

Dick. I understand this — whether you ever did 
before or not, this time you have broken the law. 
You're in my hands now, and these men as well, — 
and unless you do as I say, I'll jail every one of them. 

Maey. You can't. I'm the only one you've seen. 

Dick. That's soon remedied, (starts to turn away) 

Maey. (as she grabs Dick's left arm with her 
left hand) Don't turn, Dick. It isn't safe. 

Dick. I'm not afraid. 

Eed. Who is this ? 

Dick. Her husband. Who are you ? 



98 WITHIN" THE LAW 

Mary. Don't speak, any of you. Don't let him 
hear your voices. 

Dick, (to Mary) You're fighting me like a 
coward. You're taking advantage of my love — you 
think because of it I can't make a move against these 
men. Now you listen to. me. 

Mart. I won't. There's nothing to listen about. 
There never can be anything between you and me. 
(turns away to the left and attempts to go up stage) 

Dick, (as lie draivs Mary hach to him) There 
can be and there will be. (to the men and half turn- 
ing to them) You men back there, if I give you my 
word to let everyone of you go free and pledge myself 
never to recognize one of you again, will you make 
Mary listen to me ? Give me a few moments to state 
my case and whether I win or lose you men go free 
and I forget everything that has happened here to- 
night. (Eed laughs derisively. To M.iry) Tell 
them I can be trusted. 

Garson. I know that. 

Dick, (/o Mary) You must listen ! Your very 
safety depends on me. Suppose I call for help. 

Garson. (as he comes quickly down to Dick's 
side, Griggs comes quicTcly doivn to center and Dacey 
and Eed each step forward) You'd only call once. 

Dick, (as he turns and looks at Garson) Per- 
haps once would be enough. 

Garsok. (short pause) You win. (Garson 
turns and faces up stage then to Red) Eed, you go 
into that hall, (indivating door left. Red crosses 
quickly to the door, Griggs goes up stage, and Dacey 
returns to his former position. Red pauMS at the 
door left as Garson continues) Don't take any 
chances with a whistle — come in and tell us if you 
hear anything. If we're rushed and have to make a 
guick getaway, see that Mary has the first chance. 



WITHIN THE LAW 99 

Eed. Eight. (Eed exits at left door dosing it 
after him) 

G ARSON, (to Dick) Make it quick, remember. 
(then Garson goes up stage to the others) 

Dick, (turning to Mary and putting his left arm 
around her waist) Don't you care for me at all? 

Mart. No, no. 

Dick. I know you do, a little anyway — if you'll 
only give me half a chance. Oh, Mary, can't you see 
you're throwing away everything that makes life 
worth while? (pause) Why don't you answer me? 

Mart. That wasn't in our bargain. 

Dick. Mary, Mary, you've got to change — don't 
be so hard — give the woman in you a chance. 

Mart. (sharply — to hide her feelings) I am 
what I am and I can't change — keep your promise 
now and let's get out of this. (Mary tries to get away 
and turns up stage to her right) 

Dick. (Dick draws her 'back and around the cor- 
ner of the couch) You can change. After all, you've 
married me, and it's up to you to give me a chance 
to make good. I need you and you need me — come 
away with me. 

Mart, (as she turns to Dick and puts her hands 
on his shoulders) No. No. I married you, not 
because I loved you, but to repay your father, I 
wouldn't even let myself think of you — then suddenly 
I realized I had spoiled your life, 

Dick, Spoiled it? 

Mart. Absolutely. If I understood I really 
cared I wouldn't have married you for anything in 
the world, 

Dick, But now, dear ? 

Mart. Can't you see, I'm a jail-bird? Nothing 
can alter that. 



100 WITHIN THE LAW 

Dick, {putting both his arms around Mart and 
drawing her close to him) But you do love me and 
nothing else matters. Don't you know you can't beat 
the law ? Suppose you were caught here tonight with 
a gang of burglars, where would you get Qff ? Why 
didn't you protect yourself? Why didn't you go to 
Chicago as you had planned ? 

Masy. (quietly as if she didn't understand) 
What? 

Dick. Why didn't you go to Chicago as you had 
planned? (Griggs starts quietly to draw away from 
the others at up cejiter and crosses down to left end 
of table at right center, listening intently) 

Mary, (a little more interested and disengaging 
herself) Arranged with whom? 

Dick. With Burke. 

Mary, (suspiciously) Burke? 

Dick. Yes. 

Mary. Who told you I had arranged it? 

Dick. Burke did. 

Mary, (now thoroughly alert) When? 

Dick. Less than an hour ago. 

Mary. Where ? 

Dick. In this room. 

Mary. Burke was here? 

Dick. Yes. 

Mary. What was he doing ? 

Dick. Talking to my father. (Griggs turns and 
rushes up to hay window, par.ts the portieres and loohs 
out) 

Mary, (to Garson" as she crosses helow the couch 
to center facing up stage) Joe ! Turn up those 
lights. (Garson crosses to switch on the wall left) 
I want to see the face of every man in this room. 
(chandelier lights up and Garson quietly comes 
down back to the couch and to the front lower end 



WITHIK THE LAW 101 

of it. Griggs on the chandelier lighting jumps away 
from the portieres and hacks up into the corner be- 
tween the door up right and the hay window, breath- 
ing heavily and scared, with his eyes on Mary. 
Mary Jceeps her eyes on Griggs as she speaks. Dick 
gets off couch and crosses to the upper front corner 
of it, ivatching Mary) Dick, how much are those 
tapestries worth ? 

Dick. Oh, two or three hundred dollars. Why ? 

Mary. Never mind that. How long have you had 
them? 

Dick. Ever since I can remember. 

Mary. Then they're not the famous masterpieces 
your father bought recently ? 

Dick. I should say not. 

Mary. It's a trick, {turning to Garson, and as 
Mary takes her eyes of Griggs to turn to Garson, 
Griggs jumps for the up right door) Burke's done 
it. {the noise of the lock turns Mary's attention 
hack to Griggs) Griggs! 

Griggs, {turning and facing Mary and coming 
a little to center and with fear in his voice) He's 
l3dng to you. They're worth half a million. 

Mary. You stool-pigeon, you did this for Burke. 

Griggs. I swear I didn't. 

Mary. You came to me yesterday with this plan 
from him. 

Griggs. I swear I was on the level. 

Garson". {at the front lower end of couch) It's 
a frame-up. 

Griggs, {defiantly) Well, what of it? 

Garson. {as he draws his revolver) I'll get you 
for this — (Griggs puts police whistle to his mouth) 
Drop that whistle. (Garson rushes up center as he 
fires at Griggs. No sound is heard. As Griggs 
drops straight down stage so that his head is at the 



103 WITHIN THE LAW 

end of the table and his feet up stage, Mary gives a 
little scream, and with her eyes on GeiggS;, hacks 
qiiicMy to the couch. Dick steps down, puts his left 
hand under Gaeson's wrist and then his right over 
Gaeson's wrist and turns Gaeson's arm over. This 
forces Gaeson around in front of and to Dick's right 
side, and facing front with his arm turned over so 
that it forces him to drop the revolver) 

Gaeson. (as he drops the revolver) Give me 
that gun. 

Red. {as he enters door left hurriedly and stands 
at it and closes it after him) Somebody's opening 
the front door! {there is a pause, then Gaeson and 
Dick break. Gaeson quickly steps over Geiggs' 
body, crosses to bay vjindow, throws the down stage 
portiere back and looks out. As Gaeson starts for the 
bay window, Dacey, who is up left center, and Eed, 
who is at the door left, quickly follow Gaeson across 
right to bay-window and stand aboi^e him; and as he 
turns back into the room, Dacey, who is front, throws 
the up stage portiere back and they both hurriedly 
exit through bay-window. As Gaeson leaves Dick, 
he bends down and picks up the revolver and puts 
it in his pocket then quickly runs to door left, and 
looks out, then closes it and stands listening at the 
door jamb) 

Gaeson. {ut the bay-window) The street's 
empty. We've got to Jump for it. {turns and crosses 
quickly back toward Maey passing between the chair 
and the table at right as far as the body of Geiggs; 
then, as he leans over the body of Geiggs ivith his 
hand out to Maey) Come on, Mary. 

Dick, {at door left) She can't make it. 

Gaeson. But if she's caught ? 

Dick. She won't be. 



WITHIN THE LAW 103 

Gaeson. If she is, I'll get you, so look out. 
(Dick is urging in dumb motion from the door left 
to get out as he is luatching through the crack of the 
door. Garson looks down into Griggs' face. To 
Griggs) You stool-pigeon, now tell that to Burke. 
(Garson turns and quickly exits through hay-win- 
dow. Mary, who has been perfectly still, her eyes 
riveted on Griggs, noiv starts slowly to move the 
body) 

{The spot from the Metropolitan toiver light is lit 
with the blinder on) 

Dick, (moving quickly toward Mart with his 
eyes on the door left and speaking as he comes) 
Mary! (then as he grabs Mary by both shoulders) 
Mary!! (Mary gives a start) 
- Mary, (in a semi-hysterical way) I never saw 
a man killed before. (Dick now half carries Mary 
and half pushes her down toivard lower end of couch 
ivhere he throws her at the end of her line and she 
falls with her face buried in the down-stage arm) 
He was standing there a moment ago and now — (as 
Mary falls on the couch Dick hurries up around the 
upper end of couch to the switch below the door left 
and presses it. The chandelier goes out and as Dick 
ivatches the door left he quickly comes to the back of 
the couch above the table and takes a cigarette and 
match from the table, then sits on the back of the 
couch, leans over gently shaking Mary by the shoul- 
der'^ speaks in a whisper) 

Dick. Talk to me! Talk to me! And above 
everything keep your head, (turns to the door and 
in his natural voice) It was bully of you to come 
and see me. (in a ivhisper to Mary) Talk to me ! 
Talk to me ! Pretend you've come to see me. (nat- 
urally) I've been trying to see you all day. (pre- 



104 WITHIK THE LAW 

pares to light cigarette) I know that my father will 
eventually — {strikes match and about to light cigar- 
ette) 

BuEKE. (as he quichly opens door with revolver in 
his right hand aimed into the room and quichly steps 
half way into the room) Hands up! All of you! 
(Mary comes up quickly to a sitting position facing 
down stage) 

Dick, (with lighted match in his hand showing 
his nervousness) Why, what are you doing in this 
house at this time of night? Don't you know there 
are limits even to what you can do ? 

Burke, (sharply and indicating Mary with the 
revolver) What's she doing here? 

Dick. You forget yourself, Inspector : this is my 
wife. 

Mary, (in a semi-hysterical way) Why shouldn't 
I be here ? 

Burke. (sharply) Where's your father? 

Dick. In bed, I suppose, (shakes out watch) 
Again I ask you what you are doing here at this 
time of night? 

Burke, (as he puts revolver in his pocket — im- 
patiently) Oh call your father. (Mary starts to 
turn toward the body, and slides up to the middle of 
the couch) 

Dick. It's too late and I'd rather not disturb him. 
Oh I see Inspector, I'll have to tell you the truth. 
My wife has decided to give up. (Dick puts his right 
hand hack and puts it on Mary's right shoulder and 
draws her hack so that her face is directly under the 
lamp. He then lets go of her as he continues, and 
Mary starts again moving toward the hody and slid- 
ing up stage on the couch) We're going away to- 
gether, but you see we had to talk things over. Now 
if you could come back in the morning? 



WITHIN THE LAW 105 

Burke. Oh, so that's it? 

Dick. Why yes, what did you think ? 

Burke. I didn't know. You see I had some bus- 
iness here and — (Metropolitan tower light flashes 
around and lights up the room disclosing the hody 
of Griggs. Mary screams and half rises, Dick 
quickly gets off the hack of the couch and paces 
around the upper end of it and takes Mary in his 
arms and seats her again on the couch, as the white 
light discloses the hody of Griggs) What's that? 
(presses switch on the wall which lights the chan- 
delier and calls) Cassidy! (as he runs across the 
stage towards door up right. At center) Cassidy!! 
(as he throws open door up right) Cassidy ! ! ! (quick- 
ly turns as he is crossing the hody) Eight where you 
are, both of you. (kneels at the left of the hody and 
feels the hreast) 

Cassidy. (as he rushes in door up right and down 
to the left of the hody followed hy Williams and 
Thompson who stand one each side of the door up 
right) What is it chief? 

Burke. They've got Griggs. 

Cassidy. Got Griggs? 

Burke. Yes, I'll break you for this. Why did'nt 
you come in when you heard the shot? 

Cassidy. There wasn't any shot. We didn't hear 
a sound. 

Burke, (as he rises and faces Dick and Mary) 
Why you could drive a hearse through the hole they've 
made in him. (to Dick and Mary. Quietly) So 
now it's murder? Where's the gun? Hand it over. 
(pau^e) Search him. 

Cassidy. (as he just crosses hody toward Dick) 
Yes, Sir. (Mr. Gilder enters up right door and 
comes down to tahle at the right of the hody) 



106 WITHIN" THE LAW 

Dick, (as he takes revolver from his pocket and 
offers it to Burke) Here it is. 
Gilder. What's this ? 

Burke, (to Gilder) You wait, (as he crosses 
down right in front of table examining revolver) So 
you did it eh ? Cassidy, you and Thompson take 'em 
both down town. (Cassidy motions with his hand 
and Thompson crosses from left of door up right to 
upper corner of the couch) 

Dick. Not her, you don't want her. It's all 
wrong. 

Mart, (as she takes Dick's hand in both hers and 
lays her cheek against it and facing front) Don't 
talk, Dick — don't talk. 

Burke, (turns facing Dick) What did you ex- 
pect ? Either you killed Griggs or she did. Did she 
kill him ? 

Dick. Good God, no! 

Burke. Then it's you. 

Mary. It isn't. It isn't. 

Burke. Now one of you killed Griggs. Did she 
do it? 

Dick. I told you no. 

Burke. Did he kill him ? (stepping to center and 
indicating Mary with the revolver which is in his 
right hand) You, I'm talking to you. Did he kill 
him? 

Mary, (showing that she has an idea) Yes. 

Dick, (as he dratvs back from Mary) Mary ! 

Gilder. So that's your revenge? 

Mary. I don't want revenge. 

Gilder. But they'll try my boy for murder. 

Mary. They can't. They can't. 

Burke. What's the reason we can't? 

Mary, (turning to Burke) Because you can't 
xjonviet him. 



WITHIK THE LAW 107 

Burke, Can't, eh? (indicating body with re- 
volver) There's the body, (showing the revolver) 
The gun was found on him. And you'll swear he 
killed him? 

Mary, (as she rises) Quite true, (stepping for- 
ward to Burke) But that man was a burglar, and 
he shot him in defence of his hoihe. (Mary starts 
to sink. Dick steps down to her quickly and they 
are in each other's arms as the curtain falls) 

CUETAIN 



ACT IV 



Time: — The next morning. 

Scene: — Office of Inspector Burke. The interior 
part of the set runs bach to two. There is u 
door left which leads to the hall leading to the 
stand. At right a door leading into the interior 
of the building. At right center is a fiat top 
desk set so that Inspector Burke who sits at 
it, faces the audience and there is just passage- 
way between his chair and the windows back of 
it. At each side of the desk is an office chair 
each placed so that there is walking space between 
them and the desk. There is an office chair 
down left, below door left. At the back of the 
office are four large windows with practical 
shades. Through the windows can be seen four 
cells. There is a passage-way between the cells 
and the windoivs. At the opening of the act the 
shades are up and the doors of the cells are open 
except the one at the extreme left which is closed. 

Lights: — The office is well lighted with white foots 
and white first border. There is no light behind 
the windows. 

At Rise : — Burke is in dress uniform, standing back 
of his desk. Williams is standing above door 
right which is open. Chicago Red is at lower 
right corner of desk and facing Burke. Dacey 
is at left side of desk facing Burke. Door is 
closed. 

109 



110 WITHIN THE LAW 

Burke. Come across now Eed. • 

Eed. I don't know nothin'. Ain't I been tellin* 
you that for over an hour ? (as Bueke turns and looTcs 
to Dacey^ Red takes stage right) 

Buhke, (talcing hold of Dacey's coat lapels, 
pushes him around to the front of the desk, and, as 
he comes to a standstill at the lower left corner of 
the desk gives Dacey a final push and lets go of him) 
Dacey, how long you been out ? 

Dacey. (facing Burke) 'Bout a week. 

Burke. Want to go back for another stretch ? 

Dacey. God, no. 

Burke. Who shot Griggs? 

Dacey. (as he advances to Burke) I don't know, 
honest I don't. (Burke suddenly hits Dacey along- 
side the jaw and Dacey goes to the floor. Dacey 
scrambles to his feet and hacks away from Burke as 
far as the door right) 

Burke, (as Dacey goes down) Kow get up and 
talk. 

Cassidy. (entering door left and closing it after 
him and standing at the door) The District Attor- 
ney's here. 

Burke, (with his eyes on Dacey) Oh, he is eh? 
Well, send him in. (Cassidy exits door left, closing 
it after him) 

Burke, (as he goes up to his chair hack of desk) 
I'll attend to you two later. Williams, take 'em back. 
(Red and Dacey exit right, Williams ahout to fol- 
low) And, Williams ! 

Williams, (stopping and turning to Burke) 
Yes, sir. 

Burke. Don't be rough with them. (Williams 
exits atid Burke sits) Dan! (Dan enters right) 
Just pull down those shades will you please? (Dan 
crosses first to the far shades and pulls them all down 



WITHIN THE LAW 111 

and exits right. Demakest enters left) Thanks for 
coining so soon. 

Demaeest. (as he crosses brings chair left of desk 
close to the desk and sits facing Burke) I came as 
soon as I got your message. I've sent for Mr. Gil- 
der 

Bukke. Yes, he 'phoned me he was on his way. 

Demaeest {taking cigar from his pocket and 
lighting it) Now then Burke, let me have it 
quickly. 

Burke. Well, Joe Garson, Chicago Eed, Tom 
Dacey and Eddie Griggs broke into Edward Gilder's 
house last night. I knew it was coming off and 
planted Cassidy and a couple of men Just outside the 
room, and went away, coming back in about an hour 
to make the arrests myself. When I broke into the 
room I found young Gilder and the Turner woman 
talking together, 

Demaeest. No trace of the others ? 

Burke. I found Griggs lying dead on the floor. 
The Turner girl says young Gilder shot Griggs be- 
cause he broke into the house. 

Demaeest. What does the boy say? 

BuEKE. Nothin' — (pause) She told him not to 
talk. 

Demaeest. What does she say? 

BuEKE. Eefuses to talk until she sees a lawyer. 

Demaeest. Anything else ? 

BuEKE. We've got Chicago Eed and Dacey. And 
we'll hare Garson before the day is over. Oh yes, 
they've Just picked up a young girl at the Turner 
woman's flat. I don't know who she is but I'm going 
to talk to her in a minute. 

Demaeest. What else have you got ? 

BuRKE. Well for once luck's with the police. 
We've got a real clue. Never saw a gun like that 

s 



112 WITHIN THE LAW 

before, did you? (tahes revolver with silencer out 
from under newspaper at right end of desk and hands 
it to Demaeest) 

Demarest. (as he tahes revolver and examines it) 
No, not exactly like that. 

Burke. I'll bet you didn't. That thing on the 
end is a Maxim Silencer There are thousands of 
them in use on rifles but — 

Demarest. {as he hands revolver to Burke) 
But what? 

Burke. But the3r've never been able to use one 
on a revolver before. That's a specially made gun, 
that's absolutely noiseless, (puts revolver in his 
pocket) It'll be the easiest thing in the world to 
trace it, (Cassidy enters at door left, closes it after 
him and comes a few steps into the room) Well, 
Cassidy, did you get anything? (Demarest turns in 
his chair so that he can see Cassidy) 

Cassidy. Yes, I had the factory at Hartford on 
the 'phone and they gave me Mr. Maxim. 

Burke, Good ! Now we're getting to it. Well, 
what did he say ? 

Cassidy. He said it was a specially constructed 
gun made for the use of Henry Sylvester, one of the 
professors at Yale, They've never been put on the 
market and never will be, 

Burke, Get hold of this man Sylvester. 

Cassidy. I just had him on the 'phone. He says 
his house was robbed about eight weeks ago and the 
silencer was stolen among other things. He adds 
the startling information that the New Haven police 
have not been able to recover any of his property — 
(as he crosses to door right) Gee, them rube cops 
are immense. 



WITHIN THE LAW 113 

Demarest. {on his first move, Cassidy stops at 
door right. With a laugh) The New York Police 
always recovers stolen property. 

Cassidy. (as he exits hurriedly at door right) 
Good night. 

Demarest. (to Burke) Is there any chance 
that young Gilder did shoot Griggs ? 

Burke. You can search me. My men who were 
just outside the door of that room didn't hear a 
sound. Of course I know that all the gang were in 
the house. 

Demarest. How do you know ? Did you see them 
go in? 

Burke. No. But Griggs said — 

Demarest. Griggs is dead. Burke, you're up 
against it, you can't prove that Garson or Chicago 
Eed or Dacey ever entered that house. 
f Burke. But Griggs said they were going to — 

Demarest. I know, but Griggs is dead, (pause 
as Burke turns away) You can't repeat what he 
told you. It isn't evidence. 

Burke. Then I'll charge young Gilder with that 
murder and call the Turner woman as a witness. 

Demarest. You can't call her; you can't make 
a wife testify against her husband. And you can't 
arrest her and put him on the witness stand. Burke, 
your only chance of getting the murderer of Griggs is 
by a confession. ^ (Demarest rises hut still faces 
Burke) 

Burke, {as he rises, facing Demarest) Then 
I'll charge 'em both with that murder and by God 
they'll both go to trial unless someone comes through. 
If it's my last act on earth, I'm going to land the 
man who shot Eddie Griggs. 



114 WITHIN THE LAW 

Demaeest. Burke, I don't believe for a minute 
that young Gilder killed this pet stool of yours and 
understand I want him to go free. 

BuEKE. He'll go free when he tells me what he 
knows, and not before, {pause as Bueke turns away 
from Demaeest and prepares to sit) Perhaps the 
old gentleman can make him talk. I can't, (sits) 
On account of his being his father's son, when it 
comes to young Gilder, I'm a little cramped in my 
style. 

Demaeest. Then you think that young Gilder 
knows — 

Bueke. I don't think anything — ^yet. I know 
that Eddie Griggs, the most valuable crook that ever 
worked for me has been murdered. And someone — 
man or woman, has got to pay for it. 

Demaeest. Woman ? 

Bueke. Mary Turner. 

Demaeest. (as he taJces stage left) But she's 
not that sort! {turns to Bueke.) 

Bueke. Oh ! She ain't ? She's made a monkey 
out of the police department: and first, last and all 
the time, I'm a copper. Now, if you'll wait for Mr. 
Gilder, in the room outside, I'll get busy with the 
girl they've just brought in. (Bueke presses huzzer 
button on the right end of his desk) 

Demaeest. Very well, {as he crosses to door 
left) I'll wait for him. {exits door left, closing it 
after him) 

(Bueke turns around so that he is facing door right. 
Door opens right and Dan enters and stands above 
door. Aggie follows. She is beautifully dressed 
and iises her best and most lady-lihe manner. She 
is making the bluff of her young life and pre- 
tends to be very indignant. She comes slowly in- 



WITHIIT THE LAW 115 

side the door and crosses to the hack of the chair 

which is right of Bueke's desk) 

BuEKE. (after Aggie gets hack of chair.) (Very 
bluff) ISTow then my girl, I want to know — 

Agnes, (hlazing with wrath) How dare you? 

BuEKE. What? 

Agnes. What do you mean by this outrage? I 
demand my instant release. 

BuEKE. Wait a minute — wait a minute. Sit 
down, (motions to chair right of desk) 

Agnes. I shall do nothing of the kind. I have 
been arrested, and by a common policeman ! 

BuEKE. Excuse me — a detective sergeant. 

Agnes. You wait — just wait till my papa hears 
of this. 

BuEKE. (puzzled) Who is your papa ? 

Agnes. I shan't tell you. You'd probably give 
my name to the reporters and if it ever got into the 
newspapers, my family would die of shame. 

BuEKE, Now the easiest way out for both of us 
is for you to tell me just who you are. You see you 
were found in the house of a notorious crook. 

Agnes. How perfectly absurd. I was calling on 
Miss Mary Turner ! 

BuEKE. (quick and sharp) How'd you meet 
her? 

Agnes. I was introduced by Mr. Eichard Gilder. 
He's the son of the owner of th^ Emporium. 

BuEKE. I know all about hira. 

Agnes. Then you must see at once that you are 
entirely mistaken in this whole matter, (a pause as 
Agnes crosses to Bueke and leaning a little toivard 
him) Don't you see it? 

Bueke. Well, no, not exactly. 



116 WITHIN THE LAW 

Agnes, (as she turns sharply aivay and crosses 
down between the chair and the desk to the front of 
the chair, looking front) Sir! 

BuBKE. Not yet ! Not yet ! The fact is, even if 
you were introduced by Mr. Gilder, Mary Turner is 
an ex-convict who has just been arrested for {'pause) 
murder. 

Agnes, (shows start of surprise on her face then 
with a srriile as she turns to Burke) Murder? 

Burke. Yes, and if there's a mistake about you, 
we don't want it to go any further; that's one of 
the reasons I must know who you are. You se6 that 
don't you? 

Agnes. Oh yes. You should have told me that 
in the first place, (with an air) My name is Helen 
— Travers — West, (sits in chair) 

Burke, (in surprise) Not the daughter of the 
railway president? 

Agnes. Yes. (as she turns in her chair) Oh, 
please don't tell anyone. Surely you must see now 
why it musn't be known that I have been brought to 
this dreadful place. Please let me go home, (turns 
front and starts to sob) 

Burke. That's all right little lady. Don't you 
be worried. Just tell me all you know about this 
Turner woman — did you see her yesterday? 

Agnes, (as she turns to Bubke) Will you let 
me go home as soon as I've told you what little I 
know? 

Burke. Yes, no ones goin' to hurt you. 

Agnes, (turns front) Well, you see — it was this 
way — Mr. Gilder was calling on me one afternoon, 
and he said he knew a charming young woman, 

who — who (apparently breaks down and takes out 

handkerchief and starts wiping her eyes) Oh, this 
is dreadful. 



WITHIN THE LAW 117 

Burke, (soothingly) That's all right, little lady 
— that's all right — no one's goin' to hurt you ! 

Agnes, (through her tears) Oh dear! Oh dear! 

Burke. Isn't there something else you can tell 
me about this woman? 

Agnes. I'm so frightened. 

Burke. Now there's nothing for you to be fright- 
ened about. 

Agnes I'm afraid you'll put me in a c-c-cell. 

Burke. No one could think of a cell and you, 
at the same time. 

Agnes, (as she dries her tears and turns and 
gives Burke a smile) Oh, thank you, sir. 

Burke, (as he leans forward in his chair) Are 
you sure you've told me all you know about this wo- 
man? 

Agnes, (turning to Burke) Oh, yes, I've only 
seen her two or three times. Oh, please won't you 
let me go home — commissioner? 

Burke, (shows he is flattered by swelling up and 
leaning way bach in his chair — graciously) If I 
let you go now will you promise to let me know if 
you can think of anything else about this woman ? 

Agnes, (as she rises aiid pushes the chair close 
to the desk) I will, indeed I will. 

Burke. Now you see, no one's hurt you. You 
can run right home to your mother. 

Agnes, (as she crosses quicMy toward door left) 
I'll go just as fast as I can. (stops and turns to 
Burke on his first word) 

Burke. Give my compliments to your father, and 
tell him I'm sorry I frightened you. 

Agnes. I will, commissioner, (starts toivard 
Burke) Father will be so grateful to you — (Agnes 
is just below chair left of deslc and has just put out 



118 WITHIN THE LAW 

her hand and Burke is about to shake hands an 
Cassidy enters) 

Cassidt. (entering door right and as he steps in 
and drops a little below door closing the door after 
him) Helio, Aggie. 

Agnes. (Agnes stops short, gives Cassidt a looJc 
then Burke a look then as she sits in chair with her 
back front) Ain't that the damndest luck? (ivatches 
Burke out of the corner of her eye) 

Burke. (Burke gives Cassidy a quick look, then 
while watching Agnes, slowly rises and crosses to 
Cassidy. To Cassidy) Do you know this girl? 

Cassidy. Sure. She's little Aggie Lynch — con 
woman from Buffalo — two years for blackmail. 

Burke, (as he puts his hand to his chair) Oh ! 
{he then crosses the stage to left of Agnes^ watching 
her all the time, then with a laugh) I certainly got 
to hand it to you, kid — you're a beaut. 

Agnes, (to Cassidy) Just as I had him goin' 
too. 

Burke. Have we a picture of this young woman ? 

Cassidy. (as he crosses to lower right corner of 
desk) Not in our gallery. 

Burke, (in society manner) I'd dearly love to 
have a photograph of you. Miss Helen — Travels — 
West. 

Cassidy. Helen — Travers — West ? 

Burke. That's what she pulled ! 

Cassidy. No ? 

Burke. Had me winging, too. (Cassidy laughs) 
Oh, I admit it. (to Agnes) You're immense, little 
one, immense, (in society manner as he takes the 
stage down left) When may I have the pleasure of 
escorting you to our gallery ? 



WITHIN THE LAW 119 

Agnes, (rising and crossing to Burke and in 
Aggie's natural way) Oh can that stuff. Let's you 
and me get down to cases. 

BuiiKE. Now you're talkin'. 

Agnes. You can't do anything to me. AVhy I'll 
be sprung inside an hour. Why, habeas corpus is my 
lawyer's middle name. 

BuEKE. On the level now, when did you see Mary 
Turner last? 

Agnes, (with an air of perfect truth) Early 
this morning. We slept together last night because 
I had the willies — she blew the joint about half-past 
eight. 

Burke. Now what's the good of you lyin' to me ? 

Agnes. What, me? Oh, I wouldn't do a thing 
like that. On the level, what'd be the use, I couldn't 
fool you. (Burke puts his right hand to his jaw 
as if he had been hit as he talvcs the stage a liiile to 
left. Agnes follows him) So help me Inspector, 
Mary never left the house all night. I'd swear that's 
the truth on a pile of bibles a mile high. 

Burke. Have to be higher than that. She was 
arrested just after midnight— (s/iarp?//) Young 
woman you better tell all you know. 

Agnes, (as she faces front) I don't know a 
thing. 

Burke, (as he quickly produces revolver from his 
pocket, leans forward and holds it in front of Agnes 
— sharply) How long has she owned this gun? 

Agnes, (glancing at revolver) She didn't own 
it. 

Burke. Then it's Garson's, eh? 

Agnes. I don't know whose it is. I never laid 
eyes on it till now. 

Burke. English Eddie was killed with this last 
night. Now, who did it ? Come on, now, who did it ? 



120 WITHIN THE LAW 

Agnes. How should I know? Say, what do you 
think I am, a mind-reader? 

Burke, (straightening up and dropping revolver 
to Jiis side. Quietly) You'd better come through 
and if you're the wise kid I think you are, you will. 

Agnes. I tell you I don't know anything, (about 
to cry) Say, what are you trying to hand me any- 
way? 

Burke, (as he puts revolver bach in his pocket 
and in a quiet coaxing tone) Now, it won't do I 
tell you. I'm wise. Now listen to me— you tell me 
what you know and I'll see that you make a clean 
get-away and slip you a nice little piece of money, 
too. 

Agnes, (turning to Burke) Say, let me get 
this straight. 

Burke. Sure. 

Agnes. If I tell you what I know about Mary 
Turner and Joe Garson, I get away? 

Burke. Clean. 

Agnes. And you'll slip me some money, too ? 

Burke. That's it! Now what do you say? 

Agnes. I say, you're a great big stiff. 

Burke. What ? 

Agnes. What do you think I am ? (as she crosses 
to lower left corner of desTc. To Cassidy) Say, 
take me out and lock me up. I'd rather be in the 
cooler than here with him. 

Burke, (threateningly) You'll tell or you'll go 
up the Eiver for a stretch. 

Agnes, (to Burke) I don't know anything and 
if I did I wouldn't tell in a million years. Now 
then, send me up if you can. 

Burke, (to Cassidy. Hard and sharp) Take 
her away. (Cassidy goes up to door right, throws it 
open and stands above it) 



WITHIN THE LAW 131 

Agnes, (as she crosses to right lower corner 
of desk) Do, Cassidy, and do it in a hurry. Bein' 
in the room with him makes me sick, (a start 
toward door right, stops and turns to Bueke) 
Thought I'd squeal, did yer? Yes I would, (as she 
crosses to door right) like hell! (exits door right 
followed by Cassidy who closes door) 

(Burke appears nonplussed. Kisses his hand and 

blows it after Agnes, then crosses to his desk and 

^sits and puts revolver under newspaper at right 

end of desk. As he sits Gilder and Demarest 

enter left) 

Burke. How do you do, Mr. Gilder? (presses 
call huzzer on his desk) 

Gilder, (as he crosses in front of Burke's desk 
turns chair at the right of it and sits placing his 
hat ,on the desk, and Demarest stands left of 
Burke's desk) Inspector — (Dan enters left) 

Burke. Dan, have Mr. Gilder's son brought up. 
(Dan exits right closing door. To Gilder) Bad 
business, sir — very bad business. 

Gilder. What does he say? 

Burke. Nothing. That's why I sent for you. 
Mr. Demarest has made the situation plain ? 

Gilder. Perfectly. It's a terrible position for 
my boy. You'll release him at once, won't you? 

Burke. I can't. You oughtn't to expect it. 

Gilder. But you know very well he didn't — 

Burke. I don't know anything about it — yet. 

Gilder. Inspector, you don't mean — 

Burke. I mean we've got to make him talk. 

(Dan enters door right and stands above door. The 
sound of the door opening causes Gilder to turn and 
rise) That's what I want you to do for all our sakes. 



122 WITHIN THE LAW 

(Dick enters door right. Dan exits door right, clos- 
ing door after him) 

Gilder. Dick, my boy — (crossing to Dick and 
putting his right hand on Dick's left shoulder and 
talcing Dick's left hand in his left hand and leads 
Dick down stage) The inspector tells me you have 
refused to answer his questions. (Dick is looking 
straight ahead of him and nods) 

Gilder. That wasn't wise under the circum- 
stances. However, Demarest and I are here now to 
protect your interests and you can talk freely. 

Burke. He's got to talk freely. 

Gilder. Now, who killed that man? We must 
know. Tell me! 

Burke, {as he half rises) Where did you get — 

Demarest. {interrupting him) Wait, please 
wait, {as he crosses to Dick and Gilder steps back, 
he comes down to Dick's right) Give the boy a 
chance, (as he places his hand on Dick's shoulder) 
Dick, I don't want to frighten you, but your position 
is really a dangerous one. Your only chance is to 
speak with perfect frankness. I pledge you my word 
1 am speaking the truth. Dick, let me forget that 
I'm the District Attorney and remember only that 
I'm an old friend of yours and your father's who is 
trying very hard to help you. Surely you can trust 
me? {hand off shoulder) Tell me — who shot 
Griggs ? 

Dick, {after a pau^e) I did. 

Demarest. Why ? 

Dick. Because I thought he was a burglar. 

Demarest. Oh, I see. Now, let's go back a little. 
Burke says you told him last night that you had 
persuaded your wife to come over to the house and 
join you. Is that true? 



WITHIN THE LAW 123 

Dick. Yes. 

Demaeest. And while you were talking — tell me, 
Dick, just what did happen? (a pause, as Dick does 
not answer) Did this burglar come into the room? 

Dick. Yes. 

Demaeest. And he attacked you ? 

Dick. Yes ! 

Demaeest. And there was a struggle? 

Dick. Yes. 

Demaeest. And you shot him ? 

Dick. Yes. 

Demaeest. (very quietly) Then where did you 
get the revolver? 

Dick, (as he turns to Demaeest) Why, I 
grabbed — (suddenly realizing that he was about to 
tell the truth) So you're trying to trap me, too? 
(as he crosses to left center and stands facing left) 
You and your talk of friendship 

Demaeest. (crossing up to right corner of desTc) 
I am your friend. 

BuEKE. (rising) Yes and you don't want to 
take us for fools either. If you shot Griggs in mis- 
take for a burglar why did you try to hide the fact? 
Why did you pretend that you and your wife were 
alone in the room? Why didn't you call for help — 
for the police as any honest man would under the 
circumstances ? 

GiLDEE. (crossing to chair right of desTc) We 
are trying to save you. 

BuEKE. (as he gets revolver and holds it out 
toward Dick) Where did you get this gun? 

Dick, (crosses to desk and throws chair left of 
it up out of his way and looJcs squarely into Bueke's 
face) I won't talk any more until I've seen my wife. 
I want to know what you've done to her. 



121 WITHIN THE LAW 

BuEKE. Did she kill Griggs ? 

Dick. No, no! 

BuEKE. Then who did? Who did? 

Dick. I won't speak again until I've seen a law- 
yer I can trust. 

GiLDEE. Dick, if you know who killed this man 
you must speak t6 protect yourself. 

BuEKE. The gun was found in your pocket. 
Don't forget that. 

GiLDEE. You don't seem to realize the position 
you are in — nor the position I am in. (pleadingly) 
If you won't speak for your own sake, do it for mine. 

Dick. I'm sorry dad, but I can't, (a look of 
despair between Gildee and Demaeest) 

BuEKE. (with sudden change to his quiet manner 
and putting revolver under newspaper again) I'm 
going to give him time to think things over, (sits) 
Perhaps he'll understand the importance of what 
we've been saying. Now young man you want to 
do a lot of quick thinking and honest thinking — 
(presses call buzzer) — and when you get ready to tell 
me the truth let me know. (Dan enters right, leaves 
the door open and stands above the door) Dan, have 
one of the other men take him back. You wait out- 
side. 

Dick. I want to know about my wife. Where is 
she? 

Bueke. (to Dan) He's not to speak to anyone. 
(to Dick) You'll know all about your wife, young 
man, when you've made up your mind to tell me the 
truth. (Dick gives Bueke a look of defiance then 
crosses in front of desk and is going to go right on 
out between the chairs and Gildee when Gildee 
speaks) 

Gildee. (as Dick is about to pass him) Dick! 



WITHIN THE LAW 125 

Dick. I'm sorry dad. (Dick then goes up to 
door right and exits followed by Dan who closes the 
door) 

Burke, (who has been watching Dick, speaks at 
the closing of the door) Well, you see what we're 
up against. I can't let him go. 

Gilder, (as he picks up his hat from the desk 
and crosses to left center) He's thinking of that 
woman — he's trying to shield her. 

Burke. He's a loyal kid, I'll say that much for 
him. (as he presses call buzzer) And now I'll show 
you the difference. (Dan enters right leaving door 
open) Dan, have that Turner woman brought up. 
(Dan exits and closes door) I'll have to try a dif- 
ferent game with her. She's a clever little dame. 

Gilder, (crossing to Burke's desk) Do you 
think she could have done it? 

Burke. If she didn't she knows who did. Some- 
one has got to pay for killing Griggs. I don't have 
to explain to Mr. Demarest. (Demarest slowly walks 
around back of Burke's chair and over to window at 
up left center) But Mr. Gilder, the very foundation 
of the work done by this department rests on the use 
of crooks who are willing to betray their pals for 
coin. If the murderer of Griggs goes unpunished, 
it will put the fear of God into the hearts of every 
stool pigeon we employ. 

Gilder. I see. 

Burke. * If we'd only caught Garson it wouldn't 
be such hard sleddin'. (Gilder up to the left of 
Demarest. Burke rises and going up to the left of 
extreme right window, raises shade and calls) Wil- 
liams ! 

Williams, (off stage right) Yes sir. 

Burke. Bring your note book and pencil. 
(pause) And hurry up. (Williams enters from 



126 WITHIN THE LAW 

right bach of window with note hooh and pencil) 
Now I waJit you to take down everything that's said 
in here, until I give you the notice to stop. Under- 
stand ? 

Williams. Yes sir. 

Burke, {as he pulls down shade) Now don't 
make any mistake. (Williams gets chair and sits 
hack of shade. As Burke crosses down below desk 
and to the back of the chair left and faces the door 
right) Now this time, I'll do the talking. No mat- 
ter what you hear me say don't be surprised. Ee- 
member when you deal with crooks you have to use 
crooked ways. 

(Enter Dan at right, step above the door and Mary 
folloivs dressed as in Act III. She pauses in door- 
way a moment then slowly crosses down to lower 
right corner of desk. As soon as she passes Dan 
he exits and closes the door after him) 

Burke, (as Mary comes to a stand-still) I just 
sent for you to tell you that you're free. 

Mary. Then I can go ? 

Burke, (as he goes up to Gilder and Demarest 
and stands facing up stage) Sure you can go. 

(Mary looks at them a moment, then looks back of 
her, then at Burke and then starts toward door 
left slowly — then makes up her mind to go and 
starts quickly toward door left. Ju^t as she is 
about back of chair left, Burke crosses to the lower 
end of his desk quickly, and as he watches Mary, 
speaks) 

Burke. Garson has confessed. 
Mary, (stops short and answers quickly) Oh 
no, he hasn't. 

Burke. What's the reason he hasn't? 



WITHIN THE LAW 127 

Maey. (turning to B-b^ke) Because he didn't 
do it. 

BuEKE. Well, he says that he did. 

Mary. But how could he when he went to 

BuKKE. (eagerly) Where did he go? 

Maey. (as she comes down to hack of chair at 
left) You ought to know that if you've arrested 
him. 

Burke, (quietly) Who shot Griggs? 

Maey. My husband shot a burglar — was his name 
Griggs? 

Burke. Oh, we know better than that. You see, 
we've traced that Maxim Silencer. Garson bought it 
himself at Hartford. 

Mary, (interrupting him, and nearly trapped) 
But he told me — 

Burke, (eagerly) What did he tell you? 

Mary, (recovering herself) He told me that 
he'd never seen one. We were talking about one the 
other day. Surely if he had anything of the sort 
he'd have shown it to me then. 

Burke, (coaxingly) Now see here, I can make 
it a lot easier for you if you'll talk. Come on now, 
who shot Griggs? 

Mary. That's for you to find out. (Burke shows 
he's mad; crosses up to his desk as he calls) 

Burke. Dan — (Dan enters right — leaves door 
open and stands above door. As Burke sits at his 
desk lookitig straight front) Take her back. 

Mary, (pause — as Mary crosses right and just 
as she gets to right corner of the desk she stops and 
turns to Burke) I suppose it's no use for me to 
stand on my constitutional rights and demand to 
see a lawyer? 

Burke. You guessed it right the first time. 

9 



128 WITHIN" THE LAW 

Mary. That is my constitutional right, isn't it 
Mr. Demarest? 
Demaeest. It is. 
Mary. Well, Inspector? 

Burke, The Constitution don't go here, (a look 
between Demaeest and Gildee. Mary turns and 
starts for door right) 

Cassidy. {entering in a hurry, door left) Say 
Chief, we've got Garson. (Mary turns quickly and 
stands at door right, leaning against the jam) 

Burke, (rising) Pine. 

Cassidy. (as he crosses quickly to Bueke) And 
here's a letter that's just been delivered at that 
woman's flat, (hands letter to Bueke and returns 
to door left and stands above it. There is a pau^e as 
Bueke opens letter — reads it, then gives Maey a 
look, and turns to Cassidy) 

Bueke, Cassidy you go stay with Garson. I'll 
send for him when I want him. 

Cassidy. (as he exits left closing door after him) 
Yes, sir. 

Burke. Mr. Demarest, I'll have to ask you to take 
Mr. Gilder outside for a little while. I'll send word 
later, (indicating letter) I'm going to get action 
on this right now. (Mary starts to exit) Don't 
go, young woman, I want you. 

Gilder, (crossing to Burke) But Inspector — 

Demarest. Better let Burke have his way, Mr. 
Gilder. (Gilder crosses to door left and exits and 
Demerest follows as he speaks) I'll expect a report 
from you Inspector. 

Burke. You'll get it all right. (Demarest exits 
left closing door after him) That's all, Dan. (Dan 
exits right closing door after him) Sit down. (Mary 
crosses to chair right of Burke's desk and sits facing 
directly front, Burke sits at the same time as Mary) 



WITHIN THE LAW 129 

I want to talk to you. (on the right end of Burke's 
desJc is a paper weight ivith a loohing glass hack and 
during the following scene she fixes her hair in it and 
also exposes the looking glass side to the audience) 

BuEKE. Now I'm going to be your friend. 

Mary. Are you? 

Burke. Yes. Give up the truth about young 
Gilder. I know he shot Griggs but I'm not tak- 
ing any stock in that burglar story and no court 
would either. What was back of the killing? Was 
he jealous of Griggs? He was always a worthless 
young cub — a rotten trick like this would be just 
about his gait. Why did he shoot Eddie Griggs? 

Mary, (with an outburst of feeling) He didn't 
kill him — he didn't kill him. He's the most won- 
derful man in the world. I'll fight you today and 
tomorrow and to the end of my life for Dick Gilder. 

Burke. That's just what I thought. Who did 
shoot Griggs? We've got everyone of that gang! 
They're all crooks. Why don't you start afresh — 
I'll give you every chance in the world. I'm on the 
dead level with you this time. 

Mary, (scornfully) Hah. (picks up paper- 
iveight and during the following speech exposes the 
looking glass side to audience) 

Burke. Oh, I'll prove it. (picks up letter from 
desk) Here's a letter that came for you. (Mary 
reaches for letter — Burke draws it away) No, I'll 
read it. (he reads) "1 can't go away without tellin* 
you how sorry I am. There won't never be a time I 
won't remember that it was me that got you sent up ; 
that you done time in my place. I don't know how 
you could have gave me all that money after I told 
you what I done. Please don't hate me. I ain't 
goin' to forgive myself ever. And I swear I'm goin' 
straight always. Your true friend — Helen Morris." 



130 WITHIN THE LAW"i 

(pause. Burke looTcs at Mary) You knew this? 

Mary. Two days ago. 

Burke, (eagerly) Did you tell old Gilder? 

Mary. What would be the use ? I had no proof — 
no one would believe me. 

Burke. (Jwlding out letter) They'd believe 
this. This letter sets you square. Why this wipes 
out everything. If old Gilder saw this letter there's 
nothing he wouldn't do to make amends, (there is a 
pause as Mary fixes her hair in the paper weight) 
Say, I'll tell you what I'll do. (Mary is all atten- 
tion) You tell me who shot Griggs and I'll see that 
old Gilder gets the letter. (Mary returns to fixing 
hair) Now listen, I give you my word of honor. 
(Burke, while continuing speech, leans hacTc in his 
chair pulls the shade aside to look for Williams and 
Mary gets the reflection of what he is doing in the 
paper weight) That anything you say in here is 
just between you and me. Just tip me off to the 
truth and I'll get the evidence in my own way. 
There's nobody here but just you and me. 

Mary, (laying down paper weight and in a low 
tone after a quich glance around the office) Are 
you sure no one will ever know? 

Burke. No one but you and me. 

Mary, (with a laugh Mary rises quickly, crosses 
up to right side of shade on extreme right window, 
pulls it up disclosing Williams, who quickly picks 
up his chair and exits right. Mary then crosses 
down to Burke) Did you get it all ? 

Williams, (from hack of shade) No ma'am, 
not quite. 

Burke, (looking straight ahead) Oh hell ! 

Mary. Eight on the level with me aren't you, 
Burke ? 



WITHIN THE LAW 131 

Burke. Dan ! (Dan enters right; stands above 
door leaving it open) Take her back. (Mary turns 
and exits right followed by Dan who closes door) 

BuEKE. (BuEKE sits a moment then gets a new 
idea) Cassidy! (rises, crosses to Cassidy, as he 
enters from left, closing door after him and crosses to 
left center, eagerly) Docs G arson know that we've 
arrested the Turner woman and young Gilder? 

Cassidy. No, sir. 

BuEKE. Or that we've got Chicago Eed or Dacey 
here? 

Cassidy. No. He hasn't been spoken to since 
we made the collar. He seems worried. 

BuEKE. Well he'll be more worried before I get 
through with him. Eemember the third degree 
Inspector Rymes worked on McGloin? (Cassidy 
nods) That's what I'm going to do to Garson. 

Cassidy. Great ! 

BuEKE. He's got imagination, that crook. The 
things he don't know are the things he's afraid of. 
After he gets in here. I want you to take his pals one 
after the other and lock them up there, {indicating 
the cells back of windows) Then when you get the 
buzzer from me, have Young Gilder and the Turner 
woman sent in. The last time you get the buzzer 
come in yourself and tell me that the gang has 
squealed. I'll do the rest. Now don't bring in 
Garson till you get the signal. 

Cassidy. Yes, sir. (crosses and exits left, closing 
door after him) 

BuEKE. Dan ! (Dan enters light, leaving door 
open) Just take those chairs out of here for a few 
minutes, (as Bueke goes up and pidls up the shade 
at extreme left, Dan crosses the stage to chair down 
left and is about to piclc it up) No don't touch 
that one. (Dan then pichs up chair each side of 



133 WITHIN THE LAW 

desTc and exits left closing door after him as Bueke 
pulls up the remaining shades. Bueke then starts 
humming "Every little movement has a meaning all 
its own," looks around the office, crosses down to 
chair down left takes it by the hack turns it so that a 
person sitting in it is half facing desk and half fac- 
ing the cells. He then tvalks around the chair, sits 
in it looks around the office then* rises and quickly 
crosses to his desk and sits. He then opens the 
right-hand top drawer of desk, takes out cigar, bites 
the end off', lights it, then stops humming. Picking 
up a pad of paper from left end of the desk puts it 
on top of the ledger in front of him, picks up the 
special quill pen, gives a glance at the door left as he 
presses the buzzer on his desk and starts to write. 
There is a pause and only the scratching of the pen 
is heard) 

Cassidy. (enters door left and steps above it) 
Here's Garson, chief. (Gaeson follows Cassidy and 
crosses to left center) 

Bueke. (without looking up) Hello, Joe. 

Gaeson. Hello, (turns and looks at Cassidy. 
Cassidy then exits left closing the door after him 
and passes around to left entrance of passage hack 
of the windows then crosses to the right side of the 
stage) 

Bueke. (very quiet and affable) Sit down a 
minute, won't you? 

Gaeson. (after a quick look around the office 
crosses over to Burke''s desk. Bueke goes on with 
his ivriting) Say, what am I arrested for? I 
haven't done anything. 

Bueke. (carelessly) Who told you, you were 
arrested ? 



WITHIN THE LAW 133 

Garson. I don't have to be told ; but when a cop 
grabs me and brings me down here, I've got sense 
enough to know I'm pinched. 

Burke, (without looking up) Is that what 
they did to you Joe? I'll have to speak to Cassidy 
about that. (Burke reaches over and presses dead 
buzz button on his desk) Sit down, won't you Joe? 
I just want to talk to you. I'll be through here in 
a second. 

Garson. {there is a silence as Garson looks 
around the office then to Burke) Say, I'd like to 
send for a lawyer. 

Burke, (as if calming a nervous child) What's 
the matter- with you Joe ? There's no use your 
hollerin' till you're hurt. You know you're not 
arrested — maybe you never will be. Now for the love 
of Mike keep still and let me finish this letter. 
(Burke goes on with his writing. Garson looks a 
moment at Burke then makes up his mind to do as 
Burke says and crosses to chair down left and sits 
in chair facing cells and Burke. As he is seated 
Cassidy enters from right end of passage back of 
windows with Dacey on his right and marches to 
third cell from right, motions to Dacey to go in, 
closes the door, locks it from a bunch of keys he car- 
ries and then turns and exits right end of passage. 
At their first appearance Garson gets a start then 
watches the whole business intently until Cassidy's 
exit then turning to Burke) 

Garson. Say, Inspector, if you've got any charge 
against me, I'd like to know what it is? 

Burke, (assuming a puzzled manner) What's 
the matter with you Joe? I told you I wanted to 
ask you a few questions, that's all. (Garson half 
rises) Now, sit down (Garson sits) — and keep 
still and let me get through with this job. 



134 WITHIN THE LAW 

Gakson. Say, Inspector — {he stops suddenly and 
leans forward in his chair as Cassidy enters. Cas- 
siDY does same business as before, this time with 
Chicago Red and puts him into the next cell to the 
right) 

Gaeson". (showing more nervousness at Cassidy^s 
exit, rises and crossing rapidly to desk as he speaks) 
Say, Inspector if you have anything against me 
why — 

BuEKE. {sharply) Who said there was? {quietly) 
What's the matter with you today Joe? You seem 
nervous. 

Gaeson". {stepping bach from the desk. Eagerly) 
No, I ain't nervous. Why ? What made you think 
that? This ain't exactly what I'd pick out as a 
pleasant place to spend the morning. {pause then 
Gaeson crosses to left side of desk and leans over it) 
Could I ask you a question ? 

BuEKE. {sharply) What is it? 

Gaeson. I was going to say if — 

BuEKE. {sharply) If, what? 

Gaeson. I was goin' to say — that is — well, if it's 
anything about Mary Turner — (Bueke without 
another move stops writing) I don't know a thing. 
{as he turns from Bueke) Not a thing. 

Bueke, {resumes writing) What made you think 
I wanted to know anything about her? {presses 
dead buzzer) 

Gaeson. {hastily) I don't know, you were up 
to her house. {crosses to Bueke's desk and leans 
over it to Bueke) Don't you see? (Cassidy brings 
in another man, Gaeson sees the business over 
Bueke's shoulder, Cassidy after locking door 
crosses left and exits. Gaeson watches him as long 
as he can without moving his body then turns and as 
%e backs up stage gives Bueke a quick look, then 



WITHIN THE LAW 135 

crosses to chair down left and sits with his hack to 
cells) 

Gaeson. (as he sits) God ! 

BcJKKE. (quietly) I did want to see her, that's 
a fact, but she wasn't at her flat. I guess she must 
have taken my advice and skipped out. Clever girl 
that, Joe. 

Gaeson. Yes. I was thinkin' of goin' west 
myself. 

BuBKE. Were you? (he quietly lays down his 
pen, takes revolver in his right hand from under 
newspaper, folds his arms so that revolver is under 
his left arm, turns in his chair so that he is facing 
Gaeson" and leans toward him then speaks quietly) 
Why did you kill Eddie Griggs ? 

Gaeson. (pause then quietly through a nervous 
laugh) I didn't kill him. (turning in Ms chair to 
face Bueke) I didn't kill him. 

BuEKE, (quietly but hard and sharp) You did — 
you killed him last night with this — (points revol- 
ver at Gaeson) Why, come on now, why? 

Gaeson. (slowly rising with persistence) I 
didn't, I tell you. (slowly crossing to center dur- 
ing Bueke's speech) 

Bueke. (sharp and quick and louder) You did 
I tell you — you did. 

Gaeson. (as he rushes over to Bueke and stares 
him straight in the eye and as Bueke has not moved 
the revolver is against Gaeson's chest. Strong) I tell 
you I didn't, (there is a pause without a move, then 
Bueke sees his trick has failed, with his eye on Gab- 
son drops the revolver hack on the right end of desk 
and sits in his chair and speaks quietly) 

Bueke. Well, I didn't think you did. (picks up 
his pen and starts writing again) But I wasn't sure 
60 I had to take a chance, (turns quickly and looks 



136 WITHIN THE LAW 

at Gaeson) You understand don't you? (Burke 
starts writing again) 

Gaeson. (straightening up and moving a little to 
left) Yes, sure. 

Burke, (lightly) We've got the right party all 
safe enough. 

Gaeson. (a quick looJc at Burke) You have? 

Burke. You can bet we have. 

Garson. (as he starts toward door left) If you 
don't want me — (stops short at Burke''s first word) 

Burke, (lightly) What's that? 

Garson. (as he starts again toward door left and 
just reaches door with his hand on the Jcnoh as 
Burke speaks which makes him stop short again) I 
say if you don't want me I'll get along. 

Burke, (stops writing and lays cigar on ash 
tray — lightly) What's your hurry? (Bueke lays 
down pen presses dead buzzer and as he rises and 
crosses to left center, speaks casually) Where did 
you say Mary Turner was last night? 

Gaeson. (as he turns and with almost a scream) 
I don't know where she was, I — (realizes he has made 
a mistake and correcting himself and controlling his. 
voice) She was home. She never left the house 
last night. 

Burke, (looking sharply at Gaeson and crossing 
to him and speaking sharply) Know anything about 
where young Gilder is? 

Gaeson. (looking right at Bueke and with an 
air of truth) Not a thing. (Bueke watches Gar- 
son closely. Door left opens. Dan enters, stands 
above it and Maey follows, sees Gaeson^ and a look 
passes between them and Maey quickly crosses to- 
ward Gaeson below desk. Bueke turns, crosses 
down and meets Maey at lower left corner of desk, 
takes her right arm in his left hand places her at the 



WITHIN THE LAW 137 

upper left corner of desk; then, without taking his 
eyes off Mary, steps up against the windows just mid- 
way between Maey and Gaeson. As Mary comes to 
a standstill at the upper end of the desk — Dick 
enters and quickly crosses to down right center. As 
Dick is well on Cassidy enters quickly door left and 
speaks sharply from just below door) 

Cassidy. (all give a start and look at Cassidy. 
Burke turns and watches Gaeson". There is a pause 
then in a tone of apology) Oh, I beg your pardon I 
didn't know you were busy, (looks straight at Gar- 
son. Garson is looking at Cassidy and feels Burke 
watching him. He slowly turns and looks Burke in 
the eye, then slowly draws himself up and throws his 
shoulders back defiantly) 

Burke, (after Garson's business and looking at 
Garson) Squealed, eh? (pause as he turns and 
looks at Dick) They tell the same story? 

Cassidy. Yes sir. 

Burke, (looking at Cassidy) I was right then 
all the time ? 

Cassidy. Sure. 

Burke. Good enough, (turns quickly to Mary 
and speaking hard and rapidly) Mary Turner, I 
want you for the murder of — 

Garson. (as he springs to Burke) That's a 
damn lie. (coming down center) 1 did it. 

Mary, (crossing quickly to Gaeson's right) 
NO, JOE, NO. Don't— talk— don't talk. 

Bueke. (as he crosses to his chair back of desk) 
Joe has talked. 

Maey. He did it to protect me. 

Bueke. Dan ! Send Williams here to take Gab- 
son's confession! (Dan exits right and closes door) 

Mary. He's not going to confess. 



138 WITHIN THE LAW 

Burke. Oh yes, he is. {perfunctorily) You are 
all cautioned that anything you say will be used 
against you. {as he sits) Come, Joe. {picks up 
cigar and starts smoTcing. Williams enters door 
right with note hook and pencil, closes door and 
crosses to Burke^s right and stands ready to take 
dictation. Cassidy moves up above door left and 
stands) 

Mary, {to Garson) Don't speak until we can 
get a lawyer for you. 

Burke, {impatiently) It's no use, my girl. I 
told you I'd get you. I'm going to try you and 
Garson and the whole gang for murder — everyone of 
you. Gilder, you'll go to the house of detention as 
a witness. Come on, Joe. 

Garson. {pause as Garson starts to cross to 
Burke, Mary attempts to stop him and he in action 
tells her to leave it to him. He then crosses in 
front of Mary to Burke) If I come through, will 
you let them two go ? {indicating Mary and Dick) 

Mary, {crossing up to Garson) We'll spend 
every dollar we can raise. 

Burke, {impatiently) Now, it's no use. He 
said he did it. Now that we're sure he's our man 
he hasn't got a chance in the world. 

Garson. Well, how about them? Do they go 
clear ? 

Mary. We'll get the best lawyers in the country. 
We'll save you, Joe, we'll save you. 

Garson. You can't. They've got it on me. My 
time's come Mary and I can save you a lot of trouble. 

Burke. He's right. We've got him cold. What's 
the use of dragging you two into it? 

Garson. They go clear? They ain't even called 
as witnesses? 



WITHIN THE LAW 139 

BuEKE, You're on. (sits back in his chcir 
smoking) 

Garson. {as lie sti-aightens up) Then here 
goes. 

Maey. (backing away from Gaeson and starting 
for chair down left. Dick crosses to Maey and 
helps her to chair) 

Gaeson. There's no other way. (after Dick 
passes him) I'm going through with it. (Maky 
tvatches by Gaeson. Pause until Maey is seated 
in chair facing front ivith her head bowed and rest- 
ing on the back of the chair and Dick standing above 
her with his hands on her shoulders. Williams 
takes the confession in shorthand notes in his note 
book) 

Gai^son. (facing front in mechanical tone) My 
name's Joe Garson. 

BuEKE. Alias ? 

Garson. (to Burke) Alias nothin'. Garson's 
ray monaker. (to the front) I shot English Eddie 
Griggs because he was a skunk and a stool pigeon 
and he got just what's comin' to him. 

Burke. Oh, we can't take a confession like that. 

Gaeson. (to Burke, doggedly) Because he was 
a skunk and a stool pigeon. (to Williams) Have 
you got it? (Williams nods — facing front) I 
croaked him just as he was goin' to call the bulls 
with a police whistle. I used a gun with smokeless 
powder and a Maxim Silencer, so it didn't make any 
noise, (to Burke) Say, I'll bet it's the first time 
a guy was ever croaked with one of them things — 
ain't it ? 

Burke. That's right, Joe. 

Garson. (to Burke — proudly) Some class to 
that, eh? (facing front) 1 got the gun and the 
Maxim thing from a fence in Boston, (to Burke) 



140 WITHIN THE LAW 

Say, them things cost sixty dollars and they're 
worth the money, too. They'll remember me as the 
first to spring one of them, won't they? 

Burke. They sure will, Joe, 

Gaeson. {facing front) Nobody knew I had it. 
(Maey starts to speaJc. With meaning) Nobody 
knew I had it. Nobody. And nobody had any- 
thing to do with the killin' but me — (Mary again 
hows her head on the hack of the chair) 

Burke. Was there any bad feeling between you 
and Griggs? 

Gaeson. (facing front) He was a stool pigeon 
and I hated his guts — that all. 

BuEKE. Have you anything else to say? 

Gaeson. NO, NOTHIN'. I croaked him and 
I'm glad I done it. He was a skunk. And this is 
all true, so help me God. 

BuEKE. That's all, Williams. He'll sign it just 
as soon as you've transcribed the notes. (Williams 
exits right closing door after him. To Maey) 
Young woman, it's just like I told you, you can't 
beat the law. Garson thought he could and now — 

Gaeson. (interrupting and crossing to Maey) 
That's right Mary, you can't beat the law. And this 
same old law says "A frail must stick to her man." 
(Maey doesn't answer) It's the best thing to do. 
(with real sincerity) And say, you want to cut out 
that worryin' about me. I ain't worrin'. Why it's 
somethin' new I've pulled off. I'll bet there'll be a 
lot of stuff in the newspapers and my pictures in 
most of them. (turns and crossing to Bueke 
eagerly) Say, if the reporters want any pictures of 
me could I have s(5me new ones taken — the one 
you've got of me in the gallery's over ten years old — 
I've took off my beard since then — could I have some 
new ones ? 



WITHIN THE LAW 141 

Burke. Sure you can, Joe, I'll send you right up 
to the gallery now. 

Gabson. (to Burke) Immense. (crosses 
down and gives Dick^s right shoulder a slap and 
Dick turns and ojfers his hand — as Garson takes 
Dick's hand to shake hands) Well, so long, young 
feller, (looks at Mary, anad starts to cross right as 
he speaks) Good-bye Mary. 

Mary, (as she rises and follows Garson) Joe, 
Joe! 

Garson". (he turns and Garson takes Mary in his 
arms) That's all right. That's all right. He'll look 
after you. Gee, I'd like to see you two with three or 
four kids playin' around the house, (to Dick) Take 
good care of her, won't yer? (Dick comes down 
stage hack of Mary and Garson turns Mary over to 
him and Dick puts his arms around Mary and she 
buries her face on his left shoulder) Well — (as he 
crosses stage right) So long. (exits door right. 
There is a pause. Burke rises with cigar in his 
mouth, looks at Mary and Dick, picks up the Helen 
Morris letter) 

Burke, (quietly) Cassidy — (Cassidy crosses to 
Burke) Mr. Gilder out there? 

Cassidy. Yes, sir. 

Burke, (handing letter to Cassidy) Give him 
this letter and tell him to read it at once. (Cassidy 
nods, smiles, crosses to door left and exits as Burke 
crosses to door right. Burke stops in doorway right 
and comes a little down right. To Dick and Mary — 
removing cigar from his mouth. 'Sternly) Just 
one thing more. When I get back I don't want to 
find anyone here, not anyone, (lightly with a smile) 
Get me? (up to door right, and exits smoking. 
Mary disengages herself from Dick's arms and cry- 
ing crosses to the right end of Burke's desk looking 



U2 WITHIN THE LAW 

off toward where Gaeson made his exit. Dick waits 
until she is standing stilly then starts for door left, 
changes his mind and, crossing over after Mary, puts 
his right hand on her left shoulder and turns her 
around to face him and steps hack. She holes up 
and with a cry of gladness comes to Dick with her 
arms outstretched. They embrace) 

CURTAIN 



MEMOS FOR STAGE MANAGER 



ACT I 

E. 1 E. {phone hell) 

Sakah. "Me, too, Mr. Dick." {Rings until Sarah 
removes receiver) 

Curtain Warning: 

Gilder. "Take her away, officer." 

Ring: 

Mary. "For all I'm losing to-day." 



ACT II 



L. 2. E. {phone hell) 

Mary. "I shouldn't be in the least surprised." 
{rings until Mary removes receiver) 

u. L. c. {door hell) 

Garson. "I've seen pulled off in this town." 

u. L. c. {door hell) 

Garson. "I'll bet it's the goods, just the same." 
Mary. "I expect him any minute, and when he 

comes" — 

u. L. c. {door hell) 

Garson. "Solid Ivory!" 
R. 1 E, {hreak vase) 

Garson. "No it ain't. Now you just turn your 
back and you won't hear — " 

10 143 



144 WITHIK THE LAW 

u. L. c. (door hell) 
Gaeson. "Oh, I got it over in Boston last week." 

Curtain Warning: 
Maey. "And if I am, who made me one?" 

Eing : 

Maey. "My name, and gave me a number. 'Now 
I've given up — " 



ACT III 

SCENE I 



Bay Window e. (Warning to light the lamp with 
mash over it) 
BuEKE. "He'll go to Chicago." 

Bay Window e. (Revolving white light effect) 

BuEKE. "Just ring for your man, will you, 
please?" (Blinder with circular hole in middle, 
same size as lens of lamp, is slowly passed in front of 
lamp) 

Curtain Warning: 

BuEKE. "Now, Mr. Gilder, I'll have to ask a 
little help from you." 

Eing: (Gildee starts toward hay-ivindow. Cur- 
tain down, all lights out except moonlight. 
Chime starts, turn out both practical lamps on 
stage) 



ACT III 



SCENE II 



Curtain Warning: {Fifth strohe of chime) 
Curtain up: {Eleventh stroke of chime) 
It. 1 E. {Telegraph effect. Gaeson taps message 
on phone mouth-piece with pen. Then answer 
with about a dozen elides of telegraph effect) 
Switchboard. {Chandelier on) 

Gaeson. "Wait till I turn on the lights." 
E. 1 E. {Buzzer) 

Gaeson. "We've got to hurry and" — {Buzzing 
stops as Gaeson removes receiver) 
E. 1 E. {Telegraph effect) 

Gaeson. "Well, we've got to take a chance." 
{About 6 clicks) 
EIGHT 1 E. {Telegraph effect) 

Gaeson. "Yes, she's on," {Telegraph message as 
Gaeson translates it and stop clicking on words 
"front door") 
UPPEE E. E. {Amler light to he lit when Maey 

enters at left 3 entrance.) 
Switchboard: {Chandelier out) 

Gaeson. "Lights." {And he snaps his fingers) 

E. 1 E. and L. 1 E. {Amber baby-spots on as click 

lights lamp on table back of couch; blinder on 

both lamps removed and lights trained on 

Maey's and Dick's faces) 

Switchboard: {Chandelier on) 

Maey. "I want to see the face of every man in 
this room." 

145 



146 WITHIN THE LAW 

L. 1 E. (Amher lahy-spot. This one hdby-spot off 
as Geiggs is shot, so that ivhen chandelier is 
again turned off, the body of Geiggs does not 
show in the darkness) 

Switchboard: {Chandelier out. Dick rushes up and 
touches switch on wall left) 

Bay Window e. {Light revolving white light with 
masJc on) 

Bay Window e. {Revolving white light effect) 
BuEKE. 'TTou see, I had some business here — ^ 

Switchboard: {Chandelier on) 
BuEKE. 'that's that?" 

E. 1 E. (Amher baby-spot off after Bueke lights 
chandelier) 

Curtain Warning: 

Bueke. "Cassidy, you and Thompson take them 
both downtown." 

Ring: 

Maey. "But that man was a burglar — " 



ACT IV 



Curtain Warning: 

Gaeson. "Well, so long." 

Ring: {As Maky throws her arms around Dick's 
nech) 



PEOPERTY PLOT 
— * 

ACT I 

Office of Edward Gilder. 

Furniture in this act — ^mahogany and green 
leather. Green carpet. 
1 Flat top magonany desk (down right) 
1 5x3 mahogany table (up left) 
1 Mahogany desk chair (right of desk) 
1 Mahogany office chair (left of desk) 
1 Mahogany office chair (below table up left) 
1 Mahogany office chair (in the upper right corner of 

the office) 
1 Green leather arm chair (down left below door) 
1 Green leather rocker (above desk and to the right 

of the center door) 
1 Mahogany hat tree (left of center door) 
Department store samples (on table up left) 
'Phone (on upper 'end of desk doivn right) 
Desk blotter, memo pad, pens, pencils, ink-stand, 
desk calendar, 2 letter baskets, 3 piles of 
opened letters, several unopened letters, letter 
opener, sten. note-book and pencil. 
1 Box of cigars (in upper right desk drawer) 
1 Box of safety matches and ash tray (on desk) 
1 Old suit case covered with foreign labels (of stage 
at center door for Dick) 
Money for stenographer (2 five dollar bills) 
Money for Edward Gilder (a dozen yellow backs) 
1 Pair of handcuffs for Mary (off stage at center 

door) 
1 Phone bell off stage (r. 1 e. works on cue) 

Cigar in box on top right drawer of Gilder's desk. 
Match holder and matches on desk. 
Ash tray on desk. 

147 



PEOPEETY PLOT 



ACT II 



Mary Turner's Apartment. Furniture in this act 
— Chippendale, bay-window draperies, covering of 
couch, arm chair down right and chair left of trick 
table, all of cretonne, of lavender, purple and white 
combination. Blue carpet. 
1 Five foot round table {at left center with drawer 

turned to left) 
1 Arm chair (left of table) 
1 Armless chair {right of table) 
1 Arm chair {down left below door) 
1 Tea table {above door left) 
1 Silver tea set {on tea table) 
1 Window seat {in bay window) 

1 Cushion on window seat {fitted to suit shape of 

window seat) 

2 Lavender and purple pillows {on windoiu seat) 
1 Set of Draperies {on bay window) 

1 Muffin stand {up left center betiveen door and bay 
window) 

3 Plates {on muffin stand) 

1 Lounge {up center between the two doors with the 

head towards door up left) 

2 Lavender and purple pillows {on lounge) 

1 English serving table {down right center. This 
is the triclc table) 

1 Low back padded arm chair {left of trich table) 

1 Pillow in chair {left of trich table) 

1 High back padded arm chair {down right and fac- 
ing center) 

1 Pillow {in arm chair down right) 

1 Ladies desk {against wall right below fire place) 

1 Small desk chair {in front of desJc) 
148 



WITHIN THE LAW 149 

1 Brass fender {in front of fire-place) 

1 Set brass fire-irons (right of fire-place) 

1 Ladies' writing desk set (on desk) 

1 Vase of lilacs (on top of desk) 

1 Standing vase containing 3 long stemmed Ameri- 
can-Beauty Roses (between fire place and 
ladies desk) 

1 Small square table (between fire-place and up right 
center door) 

1 Small case of buttercups (on small square table) 

2 Books on trick table (set at right angles to each 

other and in such a way as to hide hole in 

table from audience) 
1 Magazine (on trick table) 
1 Vase of Buttercups to be broken (off stage up right 

center) 
1 Sunday newspaper (on floor between trick table 

and arm chair left of it) 
One round table down left — phone, ladies desk set, 

and 3 or 4 magazines. 
In drawer of round table, down left — legal paper, 

mesh pocket book with 5 or 6 yellow back 

bills in it, small note book and pencil. 
1 Small picture on wall (down left between door and 

bay window) 
1 Small placque on wall (between bay window and 

door up left center) 
1 Large picture (on wall up center between the two 

doors) 
1 Small round picture (on wall over fire place) 
1 Picture (on wall down right over desk) 
1 Small chair (in hall back of door up right center) 
1 Picture (on wall in hall up right center) 
1 Table in hall (back of door in hall up left center) 
1 Large fancy vase (on table in hall) 
1 Picture (on wall in hall up left center) 



150 WITHIN THE LAW 

1 Door bell {off stage up left center. Rung on sev- 
eral cues) 

1 Tray with glass of milk and napkin on it {off stage 
up left center for Fannie) 

1 Revolver with "Maxim Silencer." {off stage up 
right center for Garson) 

1 'Phone bell {off stage down left. Rung on cue) 

1 Large package of money in wallet {off stage up 
left center for Iewin) 

1 Small note book {off stage up left center for 
Cassidy) 

1 Legal paper {off stage down left for Agnes) 

1 Drawing on white paper {plan of house. Off stage 
up left center for Geiggs) 



PROPEETY PLOT 



act III 



Edward Gilder's library. Furniture in this act — 

walnut. Brown carpet. 

1 Couch {hdgh back and ends. 8ets curtains line at 
left center diagonally to up center) 

1 24 inch square table back of couch {on square 
table back of couch) fancy cigarette box, cigar- 
ettes in it, matches and match safe and ash- 
tray. 

1 Taberette {up left above door) 

1 Plant {on taberette) 

1 Fireplace mantle {up center) 

2 Candle-sticks {on mantle) 

1 Set dark brass fire-dogs {in fireplace) 
1 Set dark brass fire-irons {right of fireplace) 
1 Dark brass, leather top club fender {around fire- 
place) 



WITHIN THE LAW 151 

1 Chair (in front of fireplace) 

1 Chair (left of fireplace) 

1 Bookcase (up left center between fireplace and 

door) 
1 Bookcase (left below door) 

1 Statue (in the center of the top of up left center 

booiccase) 

2 Blue and white vases (one on each end of up left 

center booiccase) 
2 Blue and white vases (one on each end of top of 

down left bookcase) 
1 Pair Practical Tapestry Portieres (on pole over 

bay-window at right) 
1 Large Library Table (down right facing audience 

just above curtain line) 
1 Arm chair (back of library table) 
1 Thone (on right upper end of library table) 
1 Rack of books (on left lower endof library table) 
1 Desk blotter (on library table) 
1 Ink stand also pens and pencils (on library table) 
1 Chime (right first entrances) 
1 Padded mallet (to ring chime) 
1 Revolver (of stage left for Bueke) 
1 Ring of house keys (for Mr. Gilder) 
1 Revolver with "Maxim Silencer" (for G arson) 
1 Electric pocket flash-lamp (for Garson) 
1 Card on card tray (left second entrance for butler) 



PROPERTY PLOT 



ACT IV 



Inspector Burke's Office. Furniture in this act — 
yellow oak; dark brown ground cloth. 



152 WITHIN THE LAW 

4 Practical yellow shades (on window) with guide 
wire on sides and cord in the center and cord 
tied at the bottom so as to allow the shades to 
go but % way up. 

1 Yellow oak flat-top desk just three feet back of 
curtain line and left end at center. 

1 Yellow oak swivel chair (back of desk) 

1 Yellow oak office chair (right of desk) 

1 Yellow oak office chair (left of desk) 

1 Yellow oak office chair (down left, right of and 
below door) 
On desk, desk pad, large ledger, inkstand, pad of 
writing paper, pen-holder and quill pen in it, 
so that it scratches when writing, 'phone, 
glass paper weight with looking-glass back at 
right end, revolver with "Maxim Silencer" on, 
newspaper to cover revolver, match safe with 
matches and ash tray. 
In upper right drawer of desk — box of cigars 

1 Stenographer's note book, pencil and chair (off- 
stage right at entrance to passage back of. win- 
dows for Williams) 

1 Bunch of keys (ofE stage right at entrance to 
passage back of windows for Cassidy) 

1 Addressed sealed and stamped letter (off stage 
left for Cassidy) 

1 Uniform coat (for Bueke) 

1 Inspector's shield (for Bueke) 

1 Uniform coat (for Williams) 

1 Policeman's shield (for Williams) 

1 Uniform coat and trousers (for Dan) 

1 Policeman's shield (for Dan) 

1 Buzzer in desk drawer with cord running to a 
two-button board (on right end of Burke's 
desk) One button alive and one dead. 

1 Cigar (off stage for Demaeest) 



ELECTEIC PLOT 



ACT I 



Foots and first border, full up, white. 
1 Bunch at door down left. 
1 White bunch at door up center. 
1 Magneto box, gives buzz sound hangs on upper end 

of desk out of sight ; cord with push button on 

it on Gilder's desk. 



ACT II 



Foots and first border, full up, white. 
1 White bunch at door down left. 
1 White bunch at door up left center 
1 White bunch at door up right center. 
1 Open air amber medium back of bay window. 

1 Standing reading lamp witii pink shade (up cen- 

ter, back of couch head, not lighted) 

2 Brackets (one on each side of fireplace) 



ACT III 



Foots only full up, amber one, circuit, chandelier, 

amber lamp, amber shades, {not lighted in 

Scene i hut works on and off at switchhoard 

with foots in Scene ii) 
Practical lamp — amber lamps — amber shades {on 

right end of down right table. This lamp 

turns on and off by chain pull) 
Practical lamp — amber lamp — amber shades {on 

table back of couch. This lamp turns on and 

off by chain pull.) 

153 



154 WITHIN THE LAW 

1 Two button press wall switch (on wall left, helow 
door. Not practical hut supposed to control 
chandelier) 

1 Amber light (bach of door left. Off after Scene i) 

1 Amber light (hack of door up right center. Off 
after Scene i — on again at cue in Scene ii) 

1 Carbon spot lens lamp back of bay window (sup- 
posed to he revolving light of Metropolitan 
tower. On and off on cue, once in Scene i, 
and once in Scene ii) 

1 Special blinder for white spot (long piece of 
asbestos with round hole in center, size of 
lens. On cue this being slowly drawn across 
the lighted lamp gives effect of revolving 
light.) 

1 Bunch light — blue medium (set helow hay window 

and faces up stage for moonlight effect) 

2 Baby spots amber medium (one in right first 

entrance and one in left first entrance. On at 
cue of Dick lighting lamp bach of couch in 
Scene ii. Left first entrance lamp off as 
Griggs is shot. Right first entrance lamp off 
when Burke turns on chandelier.) 

1 Magneto box, fixed so that the bells are removable 
and cord with press button run ofE to right 
first entrance. On cue when button is pressed 
it gives a buzzing sound. Sets on baseward 
down and* below bay window. 

1 'Phone with electric telegraph effect in receiver 
with cord running to right first entrance. 
When worked off stage on cue it sounds like a 
telegraph key. 



ACT IV 

!Foots and first border, full up, white. 



\ 



WITHIN THE LAW 155 

1 Bunch white (hacic of door left) 

1 White bunch {hach of door right) 

1 Two button board with one button alive with the 
buzz in the drawer of Burke's desk. It sets 
on right end of Burke's desk and has one dead 
button. 

1 Magneto box with practical buzz inside and re- 
movable bells on outside. (It sets on base 
hoard just below hay window. The cord to 
ring the huzz on cue runs off to right first 
entrance) 



CURTAIN CALLS 



ACT I 



1 Picture (Mary's exit) 

2 Mary and Gilder. 

3 Mary and Cassidy. 

4 Mary. 

5 Mary, Gilder and Cassidy. 



ACT II 



1 Picture. 

2 Gilder, Griggs, Cassidy and Agnes. 

3 Garson, Burke, Mary and Dick. 

4 Mary and Dick. 

5 Mary and Garson. 

6 Mary. 

7 Garson. 

8 Dick. 

9 Mary, Dick and Garson. 



156 WITHIN THE LAW; 

ACT III 

1 Picture. 

2 Mary, Garson, Dick, Burke, Cassidy and Gilder. 

3 Cassidy, Burke and Gilder. 

4 Dick, Mary and Garson. 

5 Garson. 

6 Dick. 

7 Mary. 

8 Same as No. 2. 



ACT rv 



1 Picture. 

2 Garson, Burke, Mary and Dick. 



KUNNING TIME 

Act I 21 minutes. 

Act II 43 minutes. 

Act III 20 minutes. 

Act IV 33 minutes. 



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